Consumption is no longer a messy process but could now instead be described as a neatly packaged box of turkey twizzlers, a symbolic referent to an original idea. Yet considering their ubiquity, surveys remain austere, their focus on functionalism, a utilitarian tool bereft of any fun or fancy. Do surveys need the clean lines of minimal design to accurately communicate with the respondent? Information design has not always been so austere, medieval scribes filled the margins of holy books with curious creatures, strange hybrids that filled in the spaces. Maybe it was a fear of emptiness (horror vacui); or a way to shock the viewer into remembering, a mnemonic device to locate the text on the page; or a part of Christian mysticism (via negativa), only through negation can God's omnipotence be understood. Whatever the reason the psalters are more interesting to look at than Survey Monkey templates. But would a playful interface detract from the questions? Or sully the data? It is not my intention to empirically prove that animated surveys are more effective than the clean lines of minimalist design. Instead I will show that surveys are part of our cultural experience and that they can be attractive, enigmatic and vital without devaluing the data.

'As a body-cultural phenomena running has eluded serious study in the humanities...' John Bale, Running Cultures, Routledge, 2004, p1\n\nFor 12 years my practice, located in the field of contemporary performance, has focused on ideas of travel, journey and context, often operating across extended timeframes; elements of duration and physical 'endurance' have been central to my work. My other areas of enquiry include performance for public space, the social impact of context-specific performance, and performance and narrative. My practice can be framed as a body-cultural enquiry: the deployment of the human body (often the performer's own) as a catalyst for - and site of - cultural phenomena. Performance art, live art, and specific parts of theatrical, visual and textual practice - contexts my work operates across - can be framed as body-cultural enquiries. \n\nThrough critical examination of my own practice and substantial exposure to the broader field, I have identified a key problematic that has been widely overlooked, perhaps due its apparent utilitarian yet complex nature. As a mode of practical enquiry that deploys the human body as its central site of investigation, the field is yet to undertake serious investigation into an activity that - many argue - defines both the cultural history and the present physical form of the human body: running, more specifically endurance running. The relevance of this problematic is thrown into sharp relief by the neighbouring fields of contemporary biology and anthropology, which for two decades have engaged in research on endurance running, resulting in a near complete rewriting of the socio-cultural place of running and the history of the human body; an event to which body-cultural enquiries in the arts are yet to seriously respond. \n\n'Endurance Running Hypothesis', as proposed by Bramble and Lieberman (University of Utah and Harvard University respectively), frames human survival and the evolution of the human body as products of our ability to run considerable distances, typically between twenty and three hundred miles. The hypothesis is linked to persistence hunting, in which prey is exhausted by being outrun. This is how the light Homo sapiens survived when the heavier Neanderthals did not. We are human, the hypothesis implies, because we ran, and we continue to inhabit the bodies of endurance runners.\n\nA critical question for contemporary performance practice emerges from this hypothesis: how does a body-based field of cultural enquiry, especially one such as mine that specifically approaches ideas of endurance and travel, respond to this framing of the human body as an endurance running body? The question is not whether endurance running can be discussed in terms of being 'art', rather what knowledge can be gained by using endurance running as a mode and site of performance-based research. \n\nThe programme takes my practical investigations as a model and operates across the schools of Arts and Humanities, Biomedical and Health Sciences, and Physical Sciences and Engineering at King's College London. Mentored by Professor of Theatre Alan Read the fellowship will establish creative dialogue between the specialisms of performance studies, literature, biology, biomechanical engineering and anatomical studies. Practical exploration will produce three professional performance outcomes. Discursive and analytical enquiries will inform and review the research through two papers and a seminar series located at the Anatomy Theatre & Museum - a live and 'digital' space for interdisciplinary performance research at King's. The programme's objective is to create a body of practical research on endurance running as a mode and site of performance enquiry that not only contributes to contemporary performance practice's study of endurance, but impacts across the public realm and related acad

The project will be conducted primarily through a series of conversations with the distinguished English composer Gavin Bryars. l plan to interview Professor Bryars on a number of occasions over the period of nine months or so, to transcribe and edit our conversations, and, with the addition of supplementary background material that I shall also research, to prepare for publication a monograph provisionally entitled "Gavin Bryars in Conversation'. Surprisingly, given Bryars's high international standing, this will constitute the first monograph on his work. The aim of the research will be to achieve new knowledge and understanding not only of Bryars's own work, but also of the growth and development of British experimental music since the mid-1960s and of his role within it.

In what ways can an experimental audio-visual document mediate ethnographic research on Cornwall's traditional working practices, and aspire to widely distribute new perspectives on regionalised material cultures? My aim is to identify three land-based livelihoods in Cornwall and, through the medium of experimental documentary film, critically examine how working practices can impact the cultural landscape. My objective is to make a feature-length experimental documentary that bridges gaps between research, education and entertainment. The film - a digital audio-visual document - would encourage a socially broad critical discourse through a filmic re-envisioning of cultural identity in relation to the Cornish landscape. I am interested in auto-ethnography as a qualitative research strategy, seeking to investigate and reflect upon personal experience in order to understand and connect to a wider social and cultural identity. As a creative filmmaker who produces experimental documentaries, my own experience within a project is central to how I make sense of what is being uncovered. Working with film as both research method and output allows for a critical creative process to develop as my audio-visual processes evolve into the public sphere. The exploration of cultural landscape, loss and reconnection, is pertinent to my own identity - as someone with Cornish heritage whose grandfather was a farmer. My methodology would expand on themes from the Tracing Granite project (2017), a collaborative interdisciplinary field trip that I was commissioned to participate on as both researcher and filmmaker. Although much of my doctoral practice-based research would be carried out independently, I have also been invited to participate on a forthcoming project titled Crafted Geologies - an interdisciplinary research project that "will examine the ways in which geological matter influences, sustains or disrupts the mobilities of skill and the livelihoods of individuals." (Paton 2018).