This is an edited version of a paper, which was first presented at the American Dance Festival (ADF, 2008)

Siobhan Davies (SD): You'd see someone who has been at work for over forty years. I am enjoying all the experiences which have helped me get this far, but I went through a period of time when I felt that I needed to dissolve them all and not let the new work be weighed down by the previous works' failings! However, now I enjoy the remembering and seeing all the long threads and the stuff that thrived from work to work. Then (and now) I wanted to find out how to work and make with other people, and dance has been the medium that I find continually beguiling. I enjoy the doing of dance and the thinking within and around it. Dance, and all that it relates to, has become the mulch I can now draw down from.Initially I made work for theatres and also worked with the traditional but formidable companions to dance, design and music. As a young maker, I was conscious how strongly these two companion arts could shape my work, but over time I felt as if all the fine detail, the nuanced behaviors that can be revealed by people moving, were swamped by the customary forms put in place to support dance making. I wondered what would happen if I dismantled those relationships, or if I let a performance of

The importance of intermediation between communities primarily engaged in research production and those primarily engaged in practice is increasingly acknowledged, yet our understanding of the nature and influence of this work in education remains limited. Accordingly, this study utilizes case study methodology and aspires to understand the activities and signature product (the Marshall Memo) of a particularly influential mediator of current educational research, news, and ideas: Mr. Kim Marshall. The article also examines the memo' s meaning to subscribing educators. Data analyses suggest subscribers greatly appreciate several aspects of the memo, which was found to draw from a wide range of source material that varies in terms of its research centredness and its practical implications.

In Part 2 of the conversation, Siobhan Davies and David Hinton reflect on the extensive work that informed the first proposal for the film. Key compositional elements are discussed such as the representation of the protagonist through a variety of images from different sources, the decision to represent both the inner and the external world of the protagonist, and, drawing on Étienne-Jules Marey's chronophotography, the decision to work with minutely choreographed image sequences that are composed from archive material. The conversation explores the forensic work with visual details and the intent to draw the viewer's attention to the richness of the found film frames. Davies and Hinton also reflect on the use of damage and decay in Chu-Li Shewring's soundscapes and the roles of film editors Danny McGuire and Matthew Killip. Keywords:All This Can Happen, Portraits, noticing, protagonist, narrative, Muybridge, Marey, Stanley Spencer, Walser, dance, dance film, walking, sculpting, found image, still image, collage, sound Claudia Kappenberg (CK): We are now looking at the time before you made All This Can Happen (ATCH).1 When I read the proposal for the BFI, I was amazed as to how accurate it was and how closely it envisaged the film.2 I was wondering how much and what kind of work you did even before writing the proposal. Could you talk a bit about that?David Hinton (DH): We worked very hard on the BFI proposal. When Sue and I collaborate, we are quite likely to start from an intuition, but the minute we start to prod at that intuition, all kinds of questions come up. We then try to go one by one and answer all the questions in advance: if we want to do this, we will have to do that, and so on. So you end up having to think your way through the whole process. You start to see all the problems and decisions that are lying ahead, along the road. I suppose I have made so many films now that I can usually see what is going to be difficult.

Some reflections on the development of screendance since the launch of the International Journal of Screendance almost 10 years ago, taking the long view with regards to the relation between innovation, knowledge, history and teaching.