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Communities in DSpace
Gestures of ResistanceGestures of Resistance aims to respond to our current general mood of political anxiety and alienation by opening up socio-political critique in order to resist the palpable feeling of disempowerment. Rather than accepting the non-choice of the neoliberal setup of Greece or current right-wing politics both in America and Europe, the artists of Gestures of Resistance reflect on the current state of our political condition, our current housing situation, the state of education and art, liberalism, diversity and pluralism in this moment of historical crisis, whereby the state of today seems to have strong links to the state of the past. As part of Gestures of Resistance, artworks by sixteen international contemporary artists will be exhibited at the Romantso Cultural Centre in Athens during Documenta 14. From photographs and collages to sculptures and installations, each artist has an agenda and political take – some subtle and cryptic, some openly confrontational. Fisher will be exhibiting new and existing sculptural works from his, ‘Homemade Device’ series. Participating artists include: Bill Balaskas, Pavel Büchler, Broomberg and Chanarin, Edward Chell, Ian Dawson, Craig Fisher, Alfredo Jaar, Peter Kennard and Cat Phillipps, Steffi Klenz, Małgorzata Markiewicz, Louisa Minkin and Francis Summers, Terry Perk, Julian Rowe, Yorgos Sapountzis, Bob and Roberta Smith, Socratis Socratous, Wolfgang Tillmans, Jessica Voorsanger, Stuart Whipps
MicroFisher was selected to participate in the group exhibition, Micro at AIR Gallery which was an open theme exhibition of over 100 small works by rising stars in contemporary art, working across a vast range of media. Fisher exhibited a number of ‘Homemade Devices’ which were highly commended by exhibition selectors.
8mm Cine WorkshopNow considered obsolete, these old Bolex 8mm cine cameras were produced in the 1950s and promoted to families and amateur film makers. They are simple to use, fully manual, powered by a clockwork motor, with excellent build quality and optics. With care and application of basic cameras/photo skills and knowledge, they are capable of very good image quality. Being a physical medium, cine film allows the user capacity to experiment, in a very hands-on way, with editing, looping and use of multiple projectors to create montages of footage and images. The workshop can be based around a brief that explores the identities of Calgary – the physical, regional and cultural identities of the city. Users will be taught and guided in the camera controls, exposure settings, use of a handheld lightmeter (It would be very useful if the Uni can provide these. Sekonic 308 will suffice), and methods for handheld filming in a range of circumstances. They will then use this knowledge to produce film footage that interprets their response to Calgary. The scope of delivery and support will depend on how much time the Photo/Art department can dedicate to the workshop. A practical workshop on basic use can be delivered in 2 hours, including a visual presentation on my own work to present a rationale for the workshop. It would work best if this can then be supplemented by an hour or so of practical support with using the cameras and exposing film for the brief.
A Profound Difference: Visualising Current Politics through Obsolete MediaThe UK referendum on the decision to leave the EU on 23rd June 2016 has proven to be a very devisive event. The turmoil, chaos and uncertainty that has ensued is unprecedented in British politics. The referendum has has revealed significant divisions between age groups, genders, social status and education. The nature of the campaigning, on the part of nationalist political parties, has given licence for a latent hostility towards people of colour and those residing and working in the country who are not identified as UK nationals. By way of response to these circumstances, I have worked with young people to film their response to the prospect of the UK no longer remaining within the EU. The work consists of moving image portraits made with European, standard 8mm cine equipment that dates from the 1950s: the period when the supranational European state was first being formed and a time of a delicate balance between the threat of global conflict, economic growth and technological development. This equipment was targetted at the affluent domestic market and amateur film makerwas widely used to record family moments and events. In so being, it signifies the popular visual practices of a previous generation. My My presentation for the conference will explore ideas and theories relating to technology, it’s impact upon and status within society, and my rational for using obsolete media to engage with current political events.