RESEARCH
Website showcasing curatorial projects exploring what it may mean to traverse physical and virtual, digital and technological worlds pedagogically and explore the application of critical theory from the (fine) arts to cultural narratives of the Internet; to discover new ways of seeing (pedagogically) through the internet.
http://leecampbelltechnoparticipation.blogspot.com
Website showcasing curatorial projects exploring sight and ways of seeing through performative pedagogies
http://leecampbellvisionimpairmentresearch.blogspot.com/
presented a recent project I co-set up at UAL called Digital Pedagogies Open Studio which explores how to disrupt the digital space pedagogically and includes reflection to an iteration of the studio where I invited members of the UAL LGBTQ+ student network to experience a piece of live immersive storytelling via Zoom to generate a space of ‘technoempathy’.
Spark! Live - an online series of talks to celebrate the new edition of Spark journal
Spark is UAL’s teaching and learning journal. There is a new special edition written by tutors and technicians focusing on digital education during the pandemic. The contributors shared case studies to describe the lessons learnt, challenges faced and the things we can take into the future. We are celebrating this special edition with an online event. The event is open to all UAL staff, students and external visitors.
The authors will give a short talks about their article followed by a Q&A. While we hope you can stay the entire day, you are welcome to drop in throughout.
To register:
https://www.eventbrite.co.uk/e/spark-live-tickets-468315021837
#digital #digitalstorytelling #storytelling #digitalpedagogy #technoparticipation #technoempathy #learning #education #pedagogy
Thank you @Chri5rowell for including my research paper on digital pedagogy and disruption in latest issues of @ualspark
https://sparkjournal.arts.ac.uk/index.php/spark/article/view/167
#digitalstorytelling #digitalpedagogy #criticalpedagogy #technparticipation #technoempathy #online #disruption orytelling #performancepoetry #spokenword #liveart #performanceart
'Covert Operations: Acts of Secrecy and Homosexual Identity' is a reflective account of three of my recent films I have just published in Edition 16 'Secrecy' of Hakara: A Bi-Lingual Journal of Creative Expression.
https://www.hakara.in/lee-campbell/
#videopoem #shortfilm #queerfilm #videopoetry #animation #multimedia #performancepoetry #videoart #poetryfilm #homosexuality #lgbt
SEE ME: Windows to the Self of the Performer-Autoethnographer' published in The Autoethnographer
Thank you @theautoethnographer for publishing my reflective account of recent #poetryfilm and performance practice I really enjoyed the process of working with you and thinking about what I do in relation to #autoethnography. Read here:
https://theautoethnographer.com/see-me-windows-to-the-self-of-the-performer-autoethnographer/
#videopoem #shortfilm #queerfilm #videopoetry #animation #multimedia #performancepoetry #videoart #poetryfilm #autoethnography
Presentation of my book volume 'Leap into Action' (Published by Peter Lang USA in 2020) and curatorial projects 'Digital Pedagogies Open Studio' and 'Empathy in Practice' at WHO DO WE THINK WE ARE?, Chelsea College of Arts, UAL (06/07/22)
Looking forward to presenting aspects of my @ResearchUAL @CCWResearch funded curatorial short film project 'Homo Humour' @Untold_LGBTQ at University of Surrey (where I used to work years ago) on July 22. Free registration. Details here: https://untoldlgbtqtales.wordpress.com
Enjoyed presenting aspects from my two-part book volume Leap into Action published by Peter Lang USA in 2020 as part of invited keynote at Lake Como Spring School.
#pedagogy #education #performativepedagogy #criticalpedagogy
Sharing The Digital Pedagogies Open Studio I co-set up@UAL@ResearchUAL @UAL_Acadsupport in prestigious Performance Research journal issue ‘On Interruptions’ #criticalpedagogy #education #digital #digitalpedagogy #technology #UAL #technoparticipation
Lee will present a talk about his curatorial project 'Homo Humour' at the conference Queer Pedagogies organised by the Queer-Feminist Interdisciplinary Working Group at The European University Institute in Florence at the end of May 2022.
Link to conference details + registration (free):
RESEARCH ONE:
CRITICAL PERFORMATIVE PEDAGOGY
My chapter is finally to published in this excellent edited collection about humour in the classroom available in June #teaching #education #humour
LEAP INTO ACTION
CRITICAL PERFORMATIVE PEDAGOGIES
IN ART & DESIGN EDUCATION
CRITICAL PERFORMATIVE PEDAGOGIES
IN ART & DESIGN EDUCATION
Edited by Dr Lee Campbell
(University of the Arts London)
Publishers: Peter Lang USA
(University of the Arts London)
Publishers: Peter Lang USA
Contributors
Gustave J. Weltsek, Mark Ingham, Glenn Loughran, Fred Meller, Gavin Baker, Peter Bond, Alex Schady, Adrian Rifkin and John Seth, Jo Addison and Natasha Kidd, Christabel Harley, Richie Manu, Simon Taylor, James Layton, Lucy Algar, Claire Makhlouf Carter, Laura Davidson, Mark Childs and Anna Childs, David Parkes, Pauline de Souza, Kevin J. Hunt and Fo Hamblin, Aaron D. Knochel, Adrian Lee, Jo Hassall, Neil Mulholland, Adam Cooke and Paul Jones, Cathy Gale, Paul Vivian, Gill Foster, Steve Fossey, Nic Chalmers and Sarah May, Nathan Geering
Abstract
This collection comprises of a package of two publications (monograph and companion).
Leap into Action asks: ‘What happens when performative arts meet pedagogy?’ and views performative teaching as building students’ understanding of complex ideas and concepts ‘through action’. It provides the theoretical, philosophical and conceptual terrain by setting forth the scholarly rationale as to what performative pedagogy is at this moment across Art & Design education. Contributions are made from individuals and groups across art and design disciplines who deploy innovative pedagogic approaches with an emphasis on performativity. To underline that Art & Design does not only happen within the institution, Leap into Action provides rich intertextual material demonstrating practical usage in and out of the classroom by bringing in and drawing upon the experiences of practitioners.
As you journey through contributions gaining insight into pedagogic perspectives designed to help you (re)imagine the possibilities, it is intended that Leap into Action will prompt new angles to look at your practice including and beyond pedagogy, mainly in terms of art, design and performance and in disciplines further afield. Whilst Leap into Action engages with performative pedagogies through disruptions, interruptions, tricksters, liminalities, affective bodies, sensory encounters, and technoparticipation, it calls into question what risk-taking means in an arts school context and the tension (even paradox) that exists between wanting to create a safe, welcoming and inclusive environment and provoking students out of their comfort zones through experimental performative pedagogy and playfulness, getting students to critically engage. Whilst engagement with performative strategies may be a ‘risky’ strategy, the rewards can be great. Enter the unknown, take a leap into action and have fun.
The second publication in the Leap into Action volume on critical performative pedagogies extends the research and the argumentation addressed in the monograph and provides (further) practical insight into how one might apply performative pedagogy in class; how it [performative teaching and learning] looks day to day – working with both undergraduate and graduate level students. How can the would-be performative tutor engage in critical performative pedagogies through disruptions, interruptions, tricksters, liminalities, affective bodies, and sensory encounters? This publication operates as an instruction manual that is textbook – oriented for instructors to use as a 'how to' guide on using performative pedagogies, on the sophisticated deployment of performative strategies in action, in practice. Each contribution follows an easy- to-follow presentation style that starts with a contextual introduction outlining a specific innovative pedagogic performative strategy. The strategy is then laid out as a set of instructions (think Fluxus for teachers), with self-reflective discussion to conclude. This echoes a three-stage learning process, Anticipation, Action and Analysis, a reflective model of practice for you to use and adapt to suit your own practice trajectories.
The volume is structured into three distinct yet interrelated discussions. Each set of chapters proposes how performative pedagogies offer a means to challenge selected concerns facing Art & Design education and more broadly, similar concerns within teaching and learning in Higher Education today.
PART I RADICAL NOT-KNOWING: DISRUPTIONS, INTERVENTIONS, LIMINALITIES
The first set of chapters proposes how the strategies of performative pedagogy correspond to the terms: ‘disruption’, ‘intervention’ and ‘liminality’ and considers how these apply to teaching and learning as ‘risky’ pedagogic strategies / forms of creative expression that do not necessarily correspond with conventional criteria that lean towards focus, precision, clarity, coherence and structure.
PART II PROXIMITIES AND ENCOUNTERS: BODIES, SENSES AND AFFECTS
PART III TECHNOPARTICIPATION: TRAVERSING PHYSICAL/DIGITAL THRESHOLDS
The final set of discussions explore aspects of the three terms focusing on the increasing importance of digital and virtual realities in students’ lives to advocate that never has there been a time in which the meanings of access are so broadened via technological mediation – with some chapters emphasising how access via technological mediation draws on all senses.
PUBLICATION TWO: COMPANION
OTHER SELECTED PUBLICATIONS
Campbell, L. 2018. ‘Rupturing the contract: Performative pedagogy, power relations and interruption’, Spark: UAL
Creative Teaching and Learning Journal (November 2018)
Campbell, L. 2018. ‘Disruptions, Interventions and Liminalities: Reconfiguring the Art Seminar in Response to Daniel Buren’s The Function of the Studio (1979) as a Site to (Re)Articulate Creative Pedagogic Risk-Taking and Power Relations’, IMPact: The University of Lincoln Journal of Higher Education Research, Vol 1 No 1 (2018). ISSN 2516-7561. Pp41-59 http://impact.lincoln.ac.uk/index.php/journal/article/view/13
Campbell, L. 2017. ‘Collaborators and Hecklers: Performative Pedagogy and Interruptive Processes’
in Scenario - Journal for Drama and Theatre in Foreign and Second Language Education. Volume XI, Issue 1/2017
Campbell, L. 2017. ‘Anticipation, Action and Analysis: A new methodology for Practice as Research’, PARtake:
The Journal of Performance as Research, Volume 1, Issue 2, Summer 2017 (Participation in/and Research: Ethics, Methodologies, Expectations), Article 7. ISSN: 2472-0860
Campbell, L. 2016. ‘The Classroom Observer: Unwanted Interruption or Welcome Witness?’ ETE: Exploration
Through Education. September 2016 https://explorationthrougheducation.com/2016/10/06/the-classroom-observer-unwanted-interruption-or-welcome-witness/
Selected conferences; seminars; symposia curated:
2018 Disruptions, Interventions and Liminalities, 7th annual London Conference in Critical Thought, University of Westminster, London
I curated a selection of papers on performative pedagogy in the arts.
2017 Provocative Pedagogies: Performative Teaching and Learning University of Lincoln, UK
This was an international conference exploring the possibilities of the emerging field of ‘performative pedagogy’ and its potential as useful and applicable to enabling learning across a range of artistic and possibly other disciplines.
RESEARCH TWO:
RADICAL VENTRILOQUISM
RADICAL VENTRILOQUISM
ACTS OF SPEAKING THROUGH AND SPEAKING FORorganised by Lee Campbell and Christabel Harley
LONDON CONFERENCE IN CRITICAL THOUGHT
Goldsmiths, University of London Saturday 6th July
Ventriloquism, in its most common usage, refers to a form of popular entertainment consisting of performers giving voice to #inanimate objects through a careful interplay between what is heard and what is seen. The beginnings of ventriloquism can be cited in the jester’s scepter. The jester gained power by not using his own voice. He spoke through the voice of his scepter—a miniature representation of his own face. Similarly, ventriloquists speak through their puppets as a way of “distancing” themselves from criticism.
What may constitute a radical ventriloquism as useful and applicable to enabling important discussions about what it may mean to ‘speak through’ and ‘speak for’ others/objects/things across a range of artistic/creative disciplines? Whilst recognising that ‘in Nietzsche’, as suggests David Goldblatt, ‘the artist allows certain forces which he designates at will, to move and speak through him.’, this stream includes presentations from individuals and groups from beyond arts and humanities to explore how, for example, a scientist would conceptualise ‘radical ventriloquism’?
PANEL ONE 9:30-11:00
Radical Ventriloquism: Introduction
Lee Campbell and Christabel Harley
AutoInterruption: Abstraction and disembodiment of the performed voice
Gemma Marmalade
Writing from diaspora as an act of radical ventriloquism
Ting J. Yiu and Nadja Schaetz
Desktop films: the act of seeing with someone else’s eyes
Gala Hernandez
PANEL ONE PRESENTATIONS AND Q&A RECORDING
https://soundcloud.com/leecampbellprojects/r05-0002mp3
PANEL TWO 11:30-1300
Nothing About us Without Us: The Challenges of Participatory Autism Research
Lisa Quadt
Normative sightedness, non-normative blindness: how museums represent 'Blindness' through access provision
Marinella Tomasello
PANEL TWO PRESENTATIONS AND Q&A RECORDING
https://soundcloud.com/leecampbellprojects/r05-0003mp3
PANEL THREE 14.00-15.30
Listening to Materials – co-designing in the Anthropocene
Jane Norris
Ian Brown et al
Wet Words and Dirty Talk: speaking through ecosex intimacies in the work of Annie Sprinkle and Elizabeth Stephens
Jon Cairns
PANEL THREE PRESENTATIONS AND Q&A RECORDING
https://www.dropbox.com/s/8hwybd1lsoodzql/R05_0004.MP3?dl=0
RESEARCH THREE:
VISION IMPAIRMENT
www.leecampbellvisionimpairmentresearch.blogspot.co.uk
Technoparticipation: performance art, mobile phones and audio instructions. Vocal Eyes. Available at http://vocaleyes.co.uk/technoparticipation-performance-art-mobile-phones-and-audio-instructions/
Campbell, L. 2017. 'You Don't Need Eyes to See You Need Vision' In Sight, published by the Royal National
Institute of Blind People, April 2017 http://www.rnib.org.uk/insight-online/fine-art-adaptations-student-vision-impairment
Campbell, L. 2017. ‘You Don’t Need Eyes to See, You Need Vision: Visual Impairment, Performative Pedagogy and Technology’ Journal of Pedagogic Development. Volume 7 Issue 2
https://journals.beds.ac.uk/ojs/index.php/jpd/article/view/397
Campbell, L. and McCall, C. and Lee, A. (2017) ‘Sight (un)specific: performance as research predicated upon deploying acts of visual negation’, Body, Space, Technology. ISSN: 1470-9120
http://people.brunel.ac.uk/bst/vol16/leecampbell/
Here are a selection of tweets recognising this research at 'Developing Theory into Practice in Higher Education' conference, City University, London in June 2017:
RESEARCH FOUR:
RADICAL VENTRILOQUISM
http://leecampbelltechnoparticipation.blogspot.co.uk/
Technoparticipation a research project started in 2015 supported by a Loughborough University Teaching Innovation Award explores the benefits and drawbacks of using digital realia in arts education. It draws upon ha following experiences: 1) working as a practitioner in the field of digital performance design where he has applied hiscreative usage of technologies such as Skype, Textwall and TitanPad in pedagogic settings to Performance practice; 2) designing, delivering and assessing teaching sessions developing student understanding of mediated and virtual performance practice e.g. when he acted as module lead for Digital Performances - one first-year undergraduate module on the Theatre and Performance programme at the University of Surrey; and 3) acting as an academic support tutor/workshop facilitator helping staff and students get to grips with local Virtual Learning Environments (VLEs) and basic digital tools such as PowerPoint and Blogger through to encouraging innovative approaches of what he refers to as everyday digital realia. This includes smartphones apps as I have found easy-to-use mobile phone technology is attractive for teachers aiming to integrate familiar forms of social media into their teaching as neither party (tutor or student) needs to be particularly tech-savvy. Encouraging creative thinking and digital skill boosting through experimentation with other (more advanced) technologies, students and staff are invited to engage with some of the latest innovations in digital technology for pedagogic application that he discovers through continual participation (speaker/delegate) in local, national and international conferences and symposia showcasing good TEL practice.
Selected publications:
Campbell, L. 2017. ‘Technoparticipation: The use of digital realia in arts education’, Spark: UAL Creative Teaching
and Learning Journal, Vol 3 / Issue 1 (2017)
https://sparkjournal.arts.ac.uk/index.php/spark/article/view/74
Campbell, L. 2017. Technoparticipation: performance art, mobile phones and audio instructions. Vocal Eyes. Available at http://vocaleyes.co.uk/technoparticipation-performance-art-mobile-phones-and-audio-instructions/
Campbell, L. 2016. ‘Cinematic Interruptions’, Viewfinder, British Universities Film and Video Council, November
2016 http://bufvc.ac.uk/articles/cinematic-interruptions
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