I post this play on a time-limited basis to air issues that affect modern university life. The play is set in a fictional university campus near Glastonbury. This has been chosen to host a pilot scheme for an international global university in keeping with 'the New Age."

1982

THE DUMB WAITER was subsequently presented at the Royal Court Theatre on 8th March, 1960, with the same cast. Scene : A basement room. Two beds, flat against the back wall. A serving hatch, closed, between the beds. A door to the kitchen and lavatory, left. A door to a passage, right. BEN is lying on a bed, left, reading a paper. GUS is sitting on a bed, right, tying his shoelaces, with difficulty. Both are dressed in shirts, trousers and braces. Silence. GUS ties his laces, rises, yawns and begins to walk slowly to the door, left. He stops, looks down, and shakes his foot. BEN lowers his paper and watches him. GUS kneels and unties his shoe-lace and slowly takes off the shoe. He looks inside it and brings out a flattened matchbox. He shakes it and examines it. Their eyes meet. BEN rattles his paper and reads. GUS puts the matchbox in his pocket and bends down to put on his shoe. He ties his lace, with difficulty. BEN lowers his paper and watches him. GUS walks to the door. GUS puts the packet in his pocket, bends down, puts on his shoe and tie the lace. He wanders off, left. BEN slams the paper down on the bed and glares after him. He picks up the paper and lies on his back, reading. Silence. A lavatory chain is pulled twice off, left, but the lavatory does not flush. Silence. GUS re-enters, left, and halts at the door, scratching his head. BEN slams down the paper.

2014

Documentation of the first five years (2008 – 2012) of The Institute for the Art and Practice of Dissent at Home. Contents includes 5 Critical Concerns by Imogen Tyler and Bruce Bennett, Jane Trowell with the Institute kids, Lois Keidan, Malcolm Miles and Mark Godber; 5 Performance Events remembering Family Picnics, Miss Julie in Utopia, A Key to Utopia, With Our £2000 Artist Fee We are Going to COP15 and Macbethmachine; 5 Postcards from 5 visitors to the Institute: Nicola Kirkham, Zhao Chuan, Rev Billy, Monika Vykoukal and David Lloyd; 5 Artist Residencies featuring Branka Cvjeticanin, Cathy Butterworth, Maresea MacKeith, a place or their own and Cinderfella; 5 Unfinished Conversations with Jennifer Verson, Ste Higginson, the cast of Macbethmachine (Daniel Simpkins and Penny Whitehead, Ben Phillips and Lorena Rivero de Beer, Tim Jeeves and Britt Jurgensen), the Adults and the Children. The Institute for the Art and Practice of Dissent at Home is a home-based initiative, run out of a house in Liverpool, UK. The Institute is run by a family of two adults and four kids, collectively, (Gary Anderson, Lena Simic, Neal, Gabriel, Sid, and James Benjamin). The Institute is a self-sufficient and sustainable initiative drawing from 10% of all income from its members (Gary and Lena work as university lecturers as well as freelance artists, the children receive child tax credits and child benefit). The Institute is concerned with dissent, homemade aesthetics, financial transparency, as well as critiquing the capitalism of culture.

Aboriginal Stories of Victoria Park: Negotiation, consultation and engagement: Navigating design consultation on colonised and contested urban land, 2018

In 2008, Col James, a senior lecturer at the University of Sydney, initiated a collaborative design project celebrating Aboriginal culture in Victoria Park, an historic public park on the outskirts of Sydney’s CBD. This project was supported by members of the Aboriginal community, but as the project progressed concerns were raised about the consultation process. A subsequent investigation identified poor consultation as a common trigger for failure in design projects for Aboriginal peoples. A review of the existing literature showed that most consultation guidelines are written for regional or remote areas, and little information is available for urban or contested locations. This research addressed these gaps in the literature by asking whose voices, ways of knowing and conferring authority are given precedent in consultation guidelines for design projects celebrating Aboriginal culture on colonised and urban land, and how might such design projects be best negotiated. Using an ‘outsider researcher’ perspective to address the interface of Aboriginal and non-Aboriginal knowledge systems, the research adopts an outsider’s decolonising and post-colonial critical methodology informed by Linda Tuhiwai-Smith, Michel Foucault and Homi Bhabha. This approach foregrounds previously silenced voices through interviews conducted as guided conversations with Aboriginal Elders and Aboriginal and non-aboriginal design experts. Existing consultation guidelines are critically analysed to identify the different themes, world views, standpoints and agendas which inform them and the findings are then compared to identify correlations and disconnections with the interview findings. The thesis confirms that consultation for Aboriginal design projects in contested locations is a complex issue for designers requiring specialised skills, strategies and competencies to account for and accommodate for historically unequal power relationships between colonised Aboriginal peoples and non-aboriginal people. The thesis re-frames and re-presents the knowledge on consultation in a more fluid, dynamic and flexible form, revealing new understandings about design praxis that move towards the increased inclusion of Aboriginal peoples' voices, perspectives and practices in the design consultation process.

This thesis offers a new model for classifying theatre works themed around digital technologies: a text-based genre called posthuman drama. Primarily a creative writing project, the thesis consists of a new play, "Machina", as well as a critical essay that positions the play as an exemplar of this new genre. Since the early 1980s, western society has experienced a monumental shift in how human beings perceive, identify, and communicate with each other. The rise of the internet and global satellite systems have ushered in what many have described as a “digital age,” where ubiquitous communication technologies have challenged both how we interpret reality and other humans. Out of these developments has emerged the growing discourse of posthumanism – a reconfiguring of the relationship between humans and intelligent machines – and my critical essay applies posthuman concepts to contemporary drama texts, drawing on the work of N. Katherine Hayles, Thomas Carlson, Stefan Herbrechter, and Cary Wolfe. While the impact of digital technologies on theatre practice has created a large volume of scholarship in recent years, the focus has overwhelmingly tended towards digital spectacle over theme or content. To redress this imbalance, I identify three contemporary plays that construct digitally-integrated subjects – posthuman subjects – via the “technology” of dramatic form, as case studies of a larger movement in western playwriting: "The Sugar Syndrome" by Lucy Prebble (UK 2003), "I Love You, Bro" by Adam J. A. Cass (Australia 2007), and "Dead Man’s Cell Phone" by Sarah Ruhl (USA 2007). In each of these examples, human and nonhuman agents are constructed as being “essentially similar” to each other, and intelligent machines form an imperative feature of the plot. I argue these plays offer a model for classifying digitally-themed theatre works beyond the realm of spectacle. The thesis concludes with my own posthuman play – "Machina" – which tells the story of a man who uploads his consciousness into a digital ether, killing his body in the process. By constructing identity along cybernetic lines, "Machina" seeks to explore the inherent conflict between a liberal humanist value system and a posthuman, digital world.

This spectral issue of „Czas Kultury” shows that we are living in a time of continuation in which separation has become impossible – nothing today passes irrevocably, while the idea of a final death, ending, or separation has been laid to rest. Everything that leaves is doomed to return to live a strange, undead, spectral life. Is the present permeated by a weak, trace presence of the past, which continually undermines and stratifies our current activities and projects?

The purpose of this practice-based research project is firstly to investigate and evaluate the current marketing and promotion methods used by the Charity Organisation: Creative Youth in order to create awareness about its annual project ‘International Youth Arts Festival Kingston’; and secondly to identify opportunities and propose solutions to enhance the festivals recognition, using the human-centred methodology of design thinking. In order to conduct this research, a literature review is provided exploring the benefits linked to festivals and special events as cultural destinations, the socio-cultural and economic advantages for local communities hosting such events, as well as the marketing and promotion capabilities and challenges of the festival’s organisers. The qualitative method applied consists of: a) ‘participant observation’ as a project manager trainee at IYAF and b) of interviews conducted with five members of IYAF. The results of the primary research have identified current issues the organisation presents resulting from external and internal factors. The external forces include: the emotional status of local residents, restrictions and regulations regarding outdoor advertising and live events and the general notion behind youth arts; whereas the internal factors involve the organisations brand-identity, the marketing and promotion strategy planning and the participation of volunteers. The findings have been analysed through two design thinking models, the USER Model and the Customer Journey Mapping Canvas in order to establish the opportunities and ideas related to the problems demonstrated. The recommendations established have emerged from ideas expressed by the interviewees and personal insight originated by my participation at the festival, therefore appearing as a brainstorming framework that can be considered and discussed with the organisers of the festival.