PhD application

Supplementary Evidence

1. The Touch Diaries film

password: touch

Festival award at Lightmoves International Festival of Screendance (2015)

1. The Elders film

2. Citation in The Evolution of the ‘A’ Word Changing Notions of Professional Practice in Avantgarde Film and Contemporary Screendance Chirstinn Whyte in The International Journal of Screendance Volume 1 • Summer 2010 ISSN 2154–6878 EDITORS Douglas Rosenberg and Claudia Kappenberg

“A particular strand of professional experience, familiar to dance artists working within community and education-based contexts, has been transferred to screen with a great measure of integrity in the work of Bristol-based Lisa May Thomas. In The Elders, from 2006, Thomas makes use of poetic documentary form, interweaving the minimalism of formalized movement content within a larger framework of additional creative elements. From the following year, Challenge 59 threads together task-generated imagery communicating the experience of creative work with primary school age children in a way rarely presented within a festival context.

Deren observed that for filmmakers the most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both” (18). Thomas and Edmunds are dance-trained artists, undertaking a long-term shift into screen-based contexts. While no doubt retaining their professional economic and operational codes, these artists’ engagement with lightweight, small scale, relatively low budget digital video production allows for a level of creative freedom within the arena of screen composition, The Evolution of the ‘A’ Word 11 which appears close to the aspirationally-oriented model of amateur practice as outlined by Deren and Brakhage.” (10)

3. Danceroom Spectroscopy video trailer for performance work Hidden Fields

4. Short review of Hidden Fields at Z-Space, San Fransciso, CA. (2015)

Hidden Fields was a unique performance, and, I believe, posed a challenge for the SciArt field. Young science students have grown-up in a world of computer-generated visual effects and interactivity. The expectations of these digital natives may impose a demand on science illustration that precludes 2D sketches of molecular grids or organic chemistry modeling kits. The results of such high-tech, interactive illustration will inspire greater understanding and potentially more engagement with the sciences.

By Joe Ferguson 4/15/2015 in ‘SciArt in America’ Magazine

5. RAM Residency Watershed 2016 write-up (Pervasive Media studio)