An important realisation in 2015 about how visual his teaching was owning to the first presence of a student with vision impairment in his class, has led Dr Lee Campbell (Lecturer in Fine Art, University of Lincoln) to explore how teaching styles may be adapted to accommodate those with visual impairment, and how art (and particularly performance art) may be adapted to make it more accessible. He aims to improve the breadth and depth of knowledge about human culture in relation to increasing understanding of visual impairment by engaging both sighted and non-sighted persons in a series of practical art/performance art experiments that promote experiential learning to explore the question: How can acts exploring visual negation be used to generate public pedagogy and what may it bring to the experience of removal of sight? His work on this topic has already been published by Royal National Institute of Blind People (RNIB).

Here are a selection of tweets recognising my work when I presented my vision impairment research at 'Developing Theory into Practice in Higher Education' conference , City University, London in June 2017:


   Live performance by artist Rory Flynn


New works by Lee Campbell, Adrian Lee and Carali McCall with  artist discussion chaired by Aaron McPeake. 


Saturday 3rd September 2016    

This event curated by Dr Lee Campbell presents a combination of art performance, performative lecture and reflective discussion. It aims to contribute to an area of contemporary art practice relating to how practitioners have not only made works that go beyond pure visual sensation and incorporate or are wholly dedicated to non-visual aspects, often prioritising the haptic, orality, sound elements and other sensory components (Coles, 1984; Marks, 2002; Paterson, 2007), but how practitioners have deployed the  concept of visual impairment and blindness as informing the work’s form and content and by doing so generate public pedagogy of what it may mean to experience interrupted/removal of sight. The title of the event is a lyric taken from the Faithless song Reverence (1996) and referred to in the context of the event to suggest that visual impairment should not hinder one’s creativity, learning development and personal goals and ambitions.

The event aims to add to the rich contextual history of artworks made by artists and performance makers who challenge aspects of visuality within their practice. For example, Artur Zmijewski’s work Blindly at Tate Modern, London in 2014 explored what it means to imagine and represent without relying on the sense of sight. Campbell, Lee and McCall attempt to extend existing practices and produce creative responses that make positive usage of visual deprivation as a means to think more deeply about how we perceive certain things in the world. Furthermore, the trio attempts to test the viewer’s understanding of how we may theorise, articulate and demonstrate what may be classed as a dominance of visuality over other senses (Jay, 1993; Crary, 2000) and provoke discussion of what it may mean to live in a society, which Martin Jay has described as ‘occularcentric’ or ‘dominated’ by vision (1993:3).

For further information:

Twitter hashtag:  #youdontneedeyestoseeyouneedvision

The event is free to attend. This event contains, at times, low levels of lighting.

Notes on the artists:
Dr Lee Campbell is an artist, curator and academic based in London. His practice plays with the parameters of contemporary art that draw attention to the performative and the participative within an art historical vernacular and seeks to interrogate how we may construct meaning between politics of space and the politics of artist/performer/protagonist articulated through visual and verbal languages. His doctoral thesis ‘Tactics of Interruption: Provoking Participation in Performance Art’ awarded by Loughborough University in 2016 made a contribution to knowledge in participative performance practice and the positive deployment of using interruptive processes; this is in order to provoke participation within the context of Performance Art as well as gain a better understanding of the operations of power relations at play. 

Adrian Lee works in video, performance and sculpture. He explores the material that surrounds us by reworking and re-examining the trappings of our commercial culture. His practice investigates the processes of communication and persuasion used on both domestic and international scales. It appropriates numerous visual and aural languages, re-circulating their symbolic components to disrupt the logic of our assumptions. He reorganises familiar elements from multinational corporate advertising, to vernacular promotional material, via the icons of art history and the rhetoric and actions of those with power and influence.

Dr Carali McCall is a Canadian-born, London UK-based artist; awarded her Ph.D. at Central Saint Martins College of Art and Design, UAL (thesis title, A Line is a Brea(d)thless Length: introducing the physical act of running as a form of drawing). Her practice addresses how duration, and imposed restrictions on the body can contribute to a greater awareness of what it means to draw. Approaching the body as a tool, she embraces the idea that the artist is not only physically present in the act of drawing, but also brings an experience to something that exceeds the object of art (be it through the body in live performance, video or sound recording, or photograph).


Coles, P. (1984). Please Touch: An Evaluation of the 'Please Touch' exhibition at  the British Museum 31st March to 8th May.
Crary, J. (2000). Suspension of Perception: Attention, Spectacle and Modern Culture. Cambridge: MIT.
Jay, M. (1993). Downcast eyes: the denigration of vision in twentieth-century French thought. Berkeley; London: University of California Press.
Marks, U, L. (2002). Touch: Sensuous Theory and Multisensory Media. London: University of Minnesota  Press.

Paterson, M. (2007). The Senses of Touch – Haptics, Affects and Technologies. New York: Berg Publishers. 

COMPLETION OF PhD practice-as-research 2016

Link to thesis:


Tactics of interruption: provoking participation in performance art


Performance Art
Power relations

This thesis addresses a research study predicated on practice in order to explore aspects of participation in Performance Art. The study makes a contribution to knowledge in participative performance practice and the positive deployment of using interruptive processes; this is in order to provoke participation within the context of Performance Art as well as gain a better understanding of the operations of power relations at play. Within the discourse of impoliteness study (Bousfield, 2008; Culpeper, 2011 et al.), there is a term that deserves much greater attention: interruption . Examining interruption and exploiting its virtues using practice brings out some productive insights that go beyond abstract theorisation. Working in response to Nicolas Bourriaud s conception (1998) of participation in Relational Aesthetics as a means of attacking power relations, I use my practice as an artist/performance provocateur and amplify consideration of my previous usage of interruption in order to provoke participation and then interrogation of power relations. Slapstick and heckling as extreme versions of interruptive processes that are physical in nature are put forward as tactics of interruption that extend comedy tactics within my practice. Circumventing commentary of interruption that often posits the term and its affiliation with impoliteness and capacity to be disruptive as negative (Bilmes, 1997), interruption is used for the purposes of my study as the key strategy that underpins the performance Lost for Words (2011) and the collaborative project Contract with a Heckler (2013), and are presented as prime examples of the operations of interruption in practice. Lost for Words supports the difficulties of participation when interruptive processes connected to physical and bodily slapstick are structurally engineered into a live performance and Contract with a Heckler supports power relations when live performance is predicated upon physical and linguistic interruptive processes relating to heckling. Both Lost for Words and Contract with a Heckler demonstrate a complex knitting of theory and practice whereby argument is supported by the undertaking of action (by the necessity of experiencing interruption in practice). The written dimension of the thesis operates in conjunction with the accompanying photographs and video recordings included here as documentation serving to deconstruct the examples of practice presented. Writing adds detail in the form of critical analysis, reflective commentary and personal experience to the supplied documentation and is used as a tool to communicate that working with interruption on a theoretical, practical and emotional level can be exciting, provocative and dangerous.

A Doctoral Thesis. Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy of Loughborough University.


Toynbee Studios
28 Commercial Street 

This event assembled a range of practitioners and thinkers who will explore the potential for inserting interruption into art and performance practice. Extending discussion on the power of interruption, the event included a series of presentations from Lee and other speakers including Fred Meller, Peter Bond, and The Bad Vibes Club (Matthew de Kersaint Giraudeau & Sam Mercer) and a roundtable discussion with Jane Munro and others, and punctuated by ‘interruptive’ performances from Alexander Costello, Rory Flynn, Morrad+McArthur and Johanna Hällsten.


Campbell, Lee, 2016. ‘TECHNOPARTICIPATION: Intermeshing performative pedagogy and interruption’, Body, Space & Technology, Volume 15 / Number 01 Brunel. Published in association with the School of Arts at Brunel University. 


I gave a paper on performative pedagogy at UCC in May 2016. Abstract below.  To read the full paper see:

An interesting audience response can be found here:

'Provoking Participation: Tactics of Performative Pedagogy'

This talk relates to my usage of performative aspects within pedagogic process and disseminates important aspects of my pedagogic strategy relating to how I apply my knowledge and expertise as an artist of generating performance practice with an emphasis on participation to my classroom. The talk will begin with a reflection upon my experience of working as an EFL teacher in London in the 2000s as being really significant in terms of how I initially structured the form and content of my teaching sessions in order to include performative techniques as methods to provoke learner participation, heighten engagement, nurture creative ability and facilitate learners getting to grips with the target language. I will then explain how I currently use performative pedagogy (with an emphasis on technology) in my teaching practice as the result of me being awarded a Loughborough University Teaching Innovation Award 2015-2016. As part of my discussion, I will share a three-stage teaching process that I have designed. This process - Anticipation, Action, and Analysis – extends an existing model of reflective practice (Rolfe, 2001) and has been described as an ‘original, practical and imaginative way of demonstrating reflective practice’ (Newbold, 2016).
As part of the talk, audience members will have the chance to engage in an interactive element using Textwall.
Newbold, C. Personal communication with the author in 2016.
Rolfe, G. 2001. Critical reflection in nursing and the helping professions: A user’s    guide. Basingstoke: Palgrave



Wednesday 10 June 2015

17:00 – 21:00
Athens School of Fine Arts
Project Space of Athens School of Fine Arts
Notara 13 & Tositsa, Exarcheia

10683, Athens, Greece


MAY 17TH 2015
... the word for ‘hospitality’ is a Latin word, (Hospitalität, a word of Latin origin, of a troubled and troubling origin, a word which carries its own contradiction incorporated into it, a Latin word which allows itself to be parasitized by its opposite, “hostility,” the undesirable guest [hôte] which it harbors as the self-contradiction in its own body...) (Derrida, 2000:3)[1]
Lee Campbell and Simon Bowes have each undertaken doctoral research concerning participation in performance. Participation might be considered central to many artistic and performative practices; the terms are redrawn from work to work, event to event. In this redrawing, we (explicitly and implicitly) include, exclude, make welcome or unwelcome, offer permissions and issue refusals (but - to what or to whom…)
Against the ephemeral ontology of the live event, its finite temporality, the call to ethics makes a demand ‘as impossible to satisfy as it is to refuse’ (Bernasconi in Sallis 1987: 135)[2]: obligation to the other, welcome, hospitality - without end. In a philosophical tradition that extends from Emmanuel Levinas, Maurice Blanchot and Jacques Derrida to Alphonso Lingis and Simon Critchley, the other becomes an ethical question, or: meeting with the other is always a matter of ethics. Through the reading group, we are concerned to ask in what circumstances, under what conditions, and to what extent the practice of performance can respond to this call.
The event of performance - from theatre to live art - might be considered as an event of welcome, as much as an event of illusion, allusion and representation. In whatever ways we are present, in whatever ways we participate, performance makes presence itself affective. In this reading group, Campbell and Bowes will draw upon aspects of their practices and use Derridean and Levinasian theories on invitations, welcomes and hospitality to interrogate how hospitality is construed in from within and outside performance and performance studies. Exploring turns towards-and-away-from participation modelled as hospitality, we can note that self-proclaimed ‘purveyor of discomfort’ Michael Rakowitz has spoken[3] about his practice as a ‘failure of manners’, whilst Dieter Roelstraate has explored the intersection between art and hospitality, announcing a ‘distrust at courtesy’ and that we should remind ourselves of ‘art’s long interest in the inhospitable’, citing terms such as dissent, disgust, discomfort, dismantle, dissatisfaction etc.[4]
As conveners - hosts! - Campbell and Bowes invite readers to explore contractual agency through Derridean concept of hostipitality (Derrida, 2000), wherein a host may be as hostile as hospitable. Readings will unfold through contemporary discourses on participation within an artistic context, from Nicolas Bourriaud’s concept of relational aesthetics, to Claire Bishop's ‘relational antagonism’.
The reading will consider on the following key themes:
• How is the event of performance construed as an event of hospitality?
• Who hosts? Can the relationship between performer and audience be drawn and redrawn as host and guest?
• When and how are these roles reinforced, reversed, blurred, or surpassed?
• How does the encounter with the other relate to practice, a process of preparing, responding, and how might it bring about the disruption, suspension of our usual tactics and strategies.
• What might it mean to be a good - or bad - host.
Provisional Reading List:
Blanchot, M: (1993) The Infinite Conversation, Minneapolis, University of Minnesota Press.
Levinas, E: (1999) Entre Nous, London, Athlone Press.
Derrida, J: (1997) Adieu to Emmanuel Levinas, Stanford, Stanford University Press.
Derrida. J (2000) ‘Hostipitality’ trans by Barry Stocker with Forbes Morlock, Angelaki -Journal of the Theoretical Humanities. Vol. 5, Issue 3, 3-18
[1] Derrida. J (2000) ‘Hostipitality’ trans. Barry Stocker with Forbes Morlock, Angelaki -Journal of the Theoretical Humanities. Vol. 5, Issue 3, 3-18
[2] Bernasconi, R., ‘Deconstruction and the Politics of Ethics’, in Sallis, J (Ed): (1987) ’Deconstruction and Philosophy: The Texts of Jacques Derrida’, Chicago, University of Chicago Press.
[3] Panel session, Being Bad, as part of Feast: Radical Hospitality in Contemporary Art at the Smart Museum of Art, University of Chicago (2015). Presenters (including Michael Rakowitz and Dieter Roelstraate),were asked to reflect upon situations where it could useful to be a ‘bad host’.
[4] For further information, see


Thank you Bob Dickinson for including my comments on laughter, humour and art  mentioning 'With Humorous Intent' the humour inspired symposium that I curated at Oriel Mostyn, Wales (2012), in February 2015's edition of ArtMonthly (UK)


21 June 2013, 9:00am to 22 June 2013, Manchester Metropolitan University,Creative Arts New Building.

I presented a collaborative paper with Dr Claire Makhlouf Carter on Friday 21 June 2013.

Collaboration is an issue at the centre of practice research. It is understood differently in different practices, whether in music, dance, drama, fine art, installation art, digital media or other performance arts. Practice research might incorporate practice-led or prac

Keynote addresses include: Mine Dogantan Dack (Middlesex University), with a presentation entitled “Why collaborate?: Towards a philosophy and politics of creative collaboration”, and Anthony Gritten (Royal Academy of Music), with a presentation entitled “Trust in Collaboration, from Policy to Practice”.

Hosted by: Practice Research Unit (Kingston University)  MIRIAD (Manchester Metropolitan University), in association with PARCNorthWest, Institute for Performance Research (MMU Cheshire), Centre for Music Performance Research, Royal Northern College of Music.

Kazimierz Wielki University, BYDGOSZCZ, POLAND  23-24 MAY 2013


Campbell and Mel Jordan  
Oh heckler, where ART thou? 
 The figure of the heckler and the relationship between rudeness and contemporary audience participatory art practice


Ewa Bogdanowska-Jakubowska - University of Silesia,
Derek Bousfield -Manchester Metropolitan University
Dániel Kádár - Huddersfield University
Małgorzata Marcjanik - University of Warsaw
Marek Łaziński - University of Warsaw
Ljiljana Šaric - University of Oslo

The aim of the conference was is to provide an interdisciplinary platform for discussion over linguistic and nonlinguistic impolite behaviour across languages and cultures. The focus of the conference will be pragmatic and sociolinguistic  aspects of impolite behaviour analysed both in terms of verbal and nonverbal communication, however we also welcomed presentations across a wide variety of topics stemming from neighbouring fields of research, such as social studies, political studies, psychology, intercultural communication, media studies, etc.

- disagreement
- rudeness
- ignorance
- aggravation
- offence
- verbal aggression
- sarcasm
- mock politeness
- humour and impoliteness
- using taboo words
- swearing and expletives, etc.


Cambridge University Centre for the Arts, Social Sciences, and Humanities (CRASSH) one-day conference, Tuesday April 16th 2013, 10am-10pm
‘Performance: a paradigm shift?’
Music, theatre, literature, film, painting, sculpture – what these and other cultural phenomena have in common is the capacity to simultaneously exist as an object (fixed, a    record) and an experience (time-specific and body-specific). ‘Performance’ can be seen as the negotiation of these ontologies. The idea that ‘texts’ have fixed or stable ‘meanings’ has been effectively challenged in the last century by an increasing privileging of the receiving context. But this move has traditionally been discussed in terms of singular, stable, unitary readers and viewers, and individual acts of reception. Performance as a hermeneutic approach repositions the intelligibility of works of art as a function of their multiple and mixed audiences, or the implicitly public nature of their messaging, however privately created and consumed. In the case of re-perfomance, the recognisable work (or ‘classic’) can be seen less as a ‘text’ which travels through time than as a space of opportunity for engagement with a present, i.e. as enacting a live meeting point for audiences: implied and embodied, individual and multiple, past and present.

The conference proposes performance as a useful conceptual tool for grasping what different acts of cultural communication have in common. It asks how what is going on the modern art gallery, for example, is related to what is going on in literary studies, or music, and how they may be responding to similar environmental prompts…performance invites us to ask not what things are, but how we know and think about them - and how 'we' are already part of their gesture. It is a paradigm shift which derives from and reinforces the need to challenge existing definitions and boundaries. By discussing these and other issues from the perspective of the both the present and the past, the conference will take advantage of other periods and cultures in which concepts of art, theatre, dance, music, literature and the public may be completely different from our modern (post-1880s) categories and the logocentric distinctions and values they enshrine.

'ON YOUR MARKS' residency July 2011 with Lucy O'Donnell

Video recording:


 was a two day symposium interrogating the deployment of humour within contemporary art practices from 2nd-4th March 2012 at Mostyn, Llandudno, North Wales, UK organised by Lee Campbell, PhD researcher, Loughborough University School of the Arts, UK in cooperation with Mostyn and Loughborough University School of the Arts, in conjunction with Politicized Practice Research Group to coincide with ‘Ha Ha Road’, Mostyn, 03 Dec - 11 Mar 2012.

Speakers included Gillian Whiteley (aka bricolagekitchen); Gary Stevens and Dave Ball, curator of Ha Ha Road, Mostyn.


13 Apr — 13 May 2012
de Appel Boys' School, Eerste Jacob van Campenstraat 59, 1072 BD Amsterdam

"– quite apart from making us laugh – it [humour] has been employed to activate repressed impulses, embody alienation or displacement, disrupt convention, and to explore power relations in terms of gender, sexuality, class, taste or racial and cultural identities." 
- Jennifer Higgie -

De Appel Curatorial Programme 2011-2012 preseneted Three Artists Walk into a Bar..., a series of works and interventions that took place outside of the premises of the exhibition space, channelled through discussion, dialogue, and public gatherings at the Appel Boys’ School and on the website of the project, Using the quality of humour to test the potential of art as a critical instrument for the analysis of social, political and cultural issues, this project aimed to build a community of peers, professionals and a variety of publics. The commitment to humour, stemmed from a belief in its social quality; in its capacity to bring subversive voices and unexpected perspectives to mainstream awareness.

A programme of lectures and workshops by internationally renowned practictioners from the field of art, theory and comedy. by Joost de Bloois, Lee Campbell, Simon Critchley, Dora Garcia, Giselinde Kuipers, VOINA, amongst others 


HECKLER at ArtsAdmin, London


at ArtsAdmin, London 
19 September, 7:30pm

Artists Lee Campbell and Mel Jordan explored the potential of the heckler as a speaker that can offer a revised understanding of social exchanges within contemporary debates on participation, linguistics, ethics and communication, by arguing that the heckler, a person who disrupts performances, speeches and public addresses should be considered as a metaphorical figurehead of impoliteness.

In a bid to further how we may vocabularise the heckler, Campbell is currently engaged in a practice-based Ph.D at Loughborough University School of the Arts, which argues for the heckler to be discussed beyond the parameters of comedy, politics and public speech. By reconstituting the heckler through the language of contemporary art practice, he advocates that the heckler’s act of interruption is an exciting, transgressive and subversive platform in which to interrogate the arena of performance-based artwork. 

HECKLER at Trade, Nottingham

Two interviews for BBC Radio Nottingham 12th and 13th July 2013 promoting Heckler at Trade, Nottingham, an symposium interrogating the heckler, organised by Loughborough University School of the Arts' Mel Jordan and Lee Campbell.

The first broadcast was at 7:55am on 12th July 2013 between presenter Andy Whittakler and Lee Campbell, Bruce Asbestos (Trade director) and Steve Fossey.

The second broadcast (4 mins 25secs in) was at 11.15 on 13th July 2013 between Lee Campbell and presenter Frances Finn

Dániel Z. Kádár: The ‘Impoliteness’ of the Heckler - A Mimetic-Relational Perspective

David Mabb: Protest Paintings

Ian Bruff: The materiality of the body and the viscerality of protest

Sarah Sparkes: The Disembodied Heckler

Lee Campbell and Claire Makhlouf Carter: Contract, Collaboration and Confrontation

Welcome and Introduction Mel Jordan

 A symposium of performative presentations and provocations entitled organised by Loughborough University School of the Arts Lee Campbell and Mel Jordan in association with Trade, Nottingham.

Keynote Speakers: Peter Bond, Ian Bruff, Daniel Z. Kadar
Other contributors include: Robin Bale, Andrew Brown, Lee Campbell and Claire Makhlouf Carter, Corinne Felgate, Ben Fitton, Mel Jordan, Kypros Kyprianou, David Mabb, Tim Miles, Sarah Sparkes

Keynote speakers:
Daniel Z. Kadar, Professor of English Language and Linguistics, Director, Centre for Intercultural Politeness Research, University of Huddersfield. Provisional paper title: The heckler's 'impoliteness': A mimetic-relational perspective.
Peter Bond (Senior Lecturer, Performance theory and practice, Central Saint Martins College of Art & Design). Provisional paper title: Off-side.
Dr. Ian Bruff (Political Scientist, Lecturer in International Relations at Loughborough University’s Department for Politics, History and International Relations).

Audience booking link -

Speaker Abstracts and Biographies here:

Trade, 1 Thoresby Street, Nottingham, United Kingdom, NG1 1AJ.

Saturday 13 July 2013
12.30 - 18.30


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