• Karl Marx's Capital and transatlantic radical book-trade networks in the early twentieth century

      Feely, Catherine; University of Derby (Routledge, 2017)
      The book trade historically tended to operate in a spirit of co-operation as well as competition. Networks between printers, publishers, booksellers and related trades existed at local, regional, national and international levels and were a vital part of the business of books for several centuries. This collection of essays examines many aspects of the history of book-trade networks, in response to the recent ‘spatial turn’ in history and other disciplines. Contributors come from various backgrounds including history, sociology, business studies and English literature.
    • Karri Pratt: Our treasure houses

      Robinson, Carl; University of Derby (Derby Museum and Art Gallery, 2015-09)
      Kerri Pratt’s paintings have references to curious spaces derived from man-made, industrial and urban landscapes. Drawing on childhood memories of growing up in an ex-mining town, when the demise of previously thriving industries of Collieries, Potteries, Pipeworks and Brickworks were all too prominent. Kerri has reconnected with her home county of Derbyshire to produce a new series of paintings referencing remnants and traces of our industrial heritage.
    • Kathmandu: disiecta membra

      Nicoletti, Martino; Passuti, Roberto; University of Derby, School of Art and Design (Bologna: Stenopeica; Firenze: A-Buzz Supreme, 2013-07-15)
      A musical CD of electronic music devoted to the Himalayan metropolis of Kathmandu. The CD, created by Martino Nicoletti and Roberto Passuti for the independent music label Stenopeica, contains 11 songs. Special guests are the Italian singers Giovanni Lindo Ferretti and Teresa De Sio.
    • Kathmandu: eclissi delle due lune

      Nicoletti, Martino; Passuti, Roberto; University of Derby, School of Art and Design (Florence - Bologna: A-Buzz Supreme - Stenopeica, 2013-04)
      A CD of electronic and experimental music (ten tracks) created by Martino Nicoletti and Roberto Passuti. The work is inspired by the metropolis of Kathmandu (Nepal).
    • Kathmandu: leçons des ténèbres (Kathmandu: lessons of darkness)

      Nicoletti, Martino; University of Derby, School of Art and Design (Bangkok: Parbphin LDT, 2010)
      An artist’s book devoted to the abyssal metropolis of the Himalayas. Fragments from the travel note book of the author, encounters, poems, tales, visions, accompanied by a rare selection of black and white analogue photographs. The work has been published in a numbered limited edition of 108 copies, each enriched by a personal artwork of the author.
    • Kathmandu: lezioni di tenebre

      Nicoletti, Martino; University of Derby, School of Art and Design (Casadei Libri Edizioni - Roma, 2012)
      A poetical book devoted to the Himalayan metropolis of Kathmandu. The work is enriched by a large series of photogaphic images by the author.
    • "Kathmandu: lezioni di tenebre": un libro e della musica dedicata ad una metropoli dell’abisso ("Kathmandu: lessons of darkness": a book and a CD devoted to a metropolis of the abysses)

      Nicoletti, Martino; University of Derby, School of Art and Design (Centro Studi Orientali Roma, 2013-05-28)
      An article devoted to the publication of a book (poetry texts, photos and an attached musical CD) by Martino Nicoletti and devoted to the city of Kathmandu (Nepal).
    • Keeping it in the family: exploring Igbo ethnic entrepreneurial behaviour in Nigeria

      Igwe, Paul Agu; Newbery, Robert; Amoncar, Nihar; White, Gareth R.T.; Madichie, Nnamdi O.; University of Lincoln; Newcastle Unviersity; University of South Wales; London School of Business and Management (Emerald, 2018-09-24)
      The purpose of this paper is to examine the attributes of the Igbos in Eastern Nigeria and the underlying factors influencing their entrepreneurial behaviour. More specifically, the study highlights the links between family, culture, institution and entrepreneurial behaviour in the African context. This paper is based on a qualitative research method by interviewing 50 entrepreneurs and community leaders of the Igbo nation. Igbos have been described as “naturally enterprising and ingenious” and can be found throughout Nigeria and West Africa. Understanding the vagaries of ethnic entrepreneurship can arguably only be achieved through research that is undertaken within these socio-historically rich, traditional and cultural contexts. Linked to the social learning theory, Igbo families provide an entrepreneurial leadership platform which influences youths through role models, providing mastery experiences and socialisation. The extended family provides a safe environment for risk taking, creativity and innovation. Also, an informal apprenticeship system provides entrepreneurial learning that prepares the younger generation to take to business as a way of life. The study is based on a relatively small sample size of 50 respondents, which makes it difficult to generalise the findings despite the benefits of the research methods adopted in the study. Also, there are limitations to the extension of the findings to a generalised Igbo population comprising individuals who may, or may not, behave entrepreneurially. There are significant practical implications, both nationally and internationally, for policy makers that are concerned with developing jobs for the growing population of unemployed youths and inclusive entrepreneurship in Nigeria. The research has three main contributions. First, it valorises indigenous knowledge of family and institutional entrepreneurial behaviour in an African context. Second, it highlights the importance of the linked institutions of the extended family and the informal apprenticeship system in Igbo culture. Finally, it provides a model and an explanation of how the Igbo culture nurtures and develops transgenerational entrepreneurial behaviour.
    • Kelly + Jones : The Glass Tank Seers in Residence CaCO3

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (2020-02)
      Kelly + Jones' research explores a decentralised and phenomenological methodology for approaching shared research dynamics. The Kelly + Jones: The Glass Tank Seers in Residence CaCO3 project approaches investigation as a non-hierarchical, non-linear series of happenings that privilege knowledge as a mingling and arrangement of rhythms and textures in anticipation of the appearing of the not-yet-seen. The Seers in Residence research model was first developed by Traci Kelly (2012). Kelly + Jones proposed that this model should form part of their practice as research exhibition at The Glass Tank, Oxford Brookes University, 2020 with an expanded scope to create a research opportunity not only across disciplines as previously but and also across generations of researchers. A key component of creating a research ecology lay in inviting others to pursue their own research through the lens of the exhibition. A micro-residency research model ”Seers-in-Residence” developed by Traci Kelly in 2012 as an open resource for creative practices provided the structure. Each invited researcher spent a continuous three hours engaging with Kelly + Jones’ exhibition material through the prism of their own discipline and research interests. The contingent research-in-action expands, renews and shifts the territory of artworks and practices, providing a ground for each ”Seer” to further mobilise their investigations through the process. The innovative intervention into exhibiting-as-research, created an inter-departmental, cross-disciplinary and inter-university research opportunity for four female researchers. The intergenerational grouping of researchers was also key to the process and included a management/senior researcher, a lecturer/ researcher, a PhD candidate and a third year B.A. Fine Art student. The result was the process built an intergenerational experience to benefit all participants by allowing integrated critical futures to develop within the Oxford Brookes University environment. Feedback from the residencies has been highly positive with students and staff commenting that they don’t normally get to witness their lecturers in active practice-as-research. The residencies also keep a static exhibition enlivened throughout its duration. The methodology: *The three-hour micro residencies were dependent upon a commitment by Oxford Brookes University to a resulting integrated publication on the different research areas and responses in order to disseminate the research. The micro–residencies took place once a week or twice a week depending on the duration of the exhibition. The invited seers were: Janice Howard BFA (Oxon), MA, SFHEA. Senior Lecturer in Fine Art Professor Helen Walkington BSc, PGCE, MSc. PhD, FRGS, NTF, PFHEA. Department of Social Sciences Deborah Pills BA Fine Art, Year 3 Kate Mohony Associate Lecturer Fine Art Through this unique method by Kelly + Jones they worked in depth with an appropriate and coherent process of practice as research. The context of creating and inviting other researchers to have a micro-residency and to site their occupations within the Kelly + Jones exhibition at The Glass Tank established practical reflection points through our own research and the trajectories of the seers own research interests - working in parallel. The outcome of the seers residency programme and its engagement with the Kelly + Jones exhibition as part of the research enquiry was that we were able to decentralise the research by opening it up to other researchers at various stages in their career without hierarchy. We have moved outside of the Fine Art community to gain fresh insight into our theory framework and site knowledge; this as evidenced by seer and geographer Professor Helen Walkington who brought new insight about the presence of flint within chalk beds and their significance around human activity.
    • Kelly + Jones In Conversation with Seers in Residence Artists for The Glass Tank

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (2020-04)
      This research event took place online during lockdown so that Kelly + Jones could share insights and learnings of the exhibition process with the seers. Kelly + Jones invited the seers to consider the geographical site(s) of chalk deposit, the original residency site of a Victorian school staircase and our own bodies as a site. In addition to this Kelly + Jones extend an invitation to the seers to create site-specific responses to the exhibiting context. The conversation was hosted by Kelly + Jones with Seers researchers: Janice Howard BFA (Oxon), MA, SFHEA. Senior Lecturer in Fine Art. Professor Helen Walkington BSc, PGCE, MSc. PhD, FRGS, NTF, PFHEA. Department of Social Sciences Deborah Pills BA Fine Art, Year 3 Kate Mohony Associate Lecturer Fine Art The outcome of this sharing event is a series of further research questions relating to the female form, marine life and performativity of the body. It also addressed the effectiveness and problematics of using practice as research as both a curatorial method for installing and working as an artist live in the context of a gallery setting, and the use of micro residencies as a methodology for practice as research. These discussions and reflections are now the basis for a series of essays and performative gestures that will form a new publication for late 2020/early 2021.
    • Kelly + Jones – The Glass Tank Solo Exhibition, CaCO3

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (The Glass Tank, 2020-01-15)
      Dr Traci Kelly and Dr Rhiannon Jones’ Solo exhibition entitled CaCO3 at The Glass Tank, Oxford Brookes University presented writing as a dynamic visual and lived encounter grounded in phenomenological, feminist and post-feminist perspectives. Kelly + Jones approached the plated glass architecture of The Glass Tank exhibition space as an aquarium that would be utilised as a research lab. There was a connection between the idea of the aquarium and the materiality of chalk which is a marine-life deposit and creating the ground for a living, evolving research ecology. The works we selected for and created within the exhibition have an unsettled status, existing in the interstice of documentation, artwork and survey. They encompass photography with attention also paid to materiality of the photographic print, drawing and made and found objects distilled from ephemeral gestures and performative encounters. The research activity subverted and ruined the representation of writing in order to privilege the visceral and subjective production of the writerly and resist the hierarchy of decipherable text. Kelly + Jones predominantly employed performance and performativity as a temporal mode of making to create a series of works through video, installation, photography, sculpture and marine artefacts. This practice as research exhibition by Kelly + Jones allowed them to explore: writing as object, writing as materiality, and the process of writing through the body as the subject invention, inherent in writing a subject into being. All the works produced for the exhibition offered partial glimpses into the material world of the human and non-human body (chalk deposits from past marine life), and their relationship to writing/language. The works exist in the interstice of documentation, artwork and survey with their unsettled status placing value on the unknowing within visual culture and research-creation. The exhibition also responded to the Glass Tank as a metaphorical aquarium, holding the remnants of past marine life in the materiality of chalk whilst creating a living ecology of research.
    • The Kent model of career education and guidance

      Hooley, Tristram; University of Derby (Kent County Council, 2015-05)
    • Key influences: Hilary Walker and Bill Beaumont

      Teague, Michael; Senior, Paul; Teesside University (Shaw and Sons, 2008)
    • Key skills and training needs of the D2N2 low carbon and environmental goods and services (LCEGS) sector

      Paterson, Fred; Baranova, Polina; Neary, Siobhan; Hanson, Jill; Clarke, Lewis; Wond, Tracey; Lee, Amanda; Gill, Judith; Gallotta, Bruno; Eisen, Matthew; et al. (University of Derby, 2018-07)
      Low Carbon is one of eight priority business sectors identified in the D2N2 Local Enterprise Partnership (LEP) Strategic Economic Plan (2014 – 2023). In January 2018, Learndirect (on behalf of the LEP) commissioned Derby Business School to research the key skills required by the Low Carbon and Environmental Goods and Services (LCEGS) sector in D2N2; map existing training provision for the sector and establish the needs of key sector supply chains. The research finds that many of the key issues and challenges for businesses that supply LCEGS identified in previous reports remain. Suggests, surprisingly, that as many as 1 in 4 firms are doing business in the sector; with 1 in 20 firms deriving more than 80% of their turnover from LCEGS. Estimates the number of LCEGS suppliers in 5 key sectors to demonstrate where skills provision could be targeted. Highlights the variety of skills needed in different sectors and some of the issues, gaps and challenges facing skills providers. Proposes that pro-environmental suppliers and innovators should be identified in each priority sector and the current and future skills needs relevant to each sector established. The report concludes that much of the business activity currently categorised as Low Carbon sector can be re-framed as pro-environmental innovation in existing traditional sectors.
    • Keynote: Grant Kester in conversation with Rhiannon Jones.

      Jones, Rhiannon; Nottingham Trent University (InDialogue, 2016-12-01)
      Grant Kester was invited by Rhiannon Jones to speak at InDialogue to provide an international context and framework for InDialogue delegates on the use of dialogue in both practice and research. It was designed to be a conversation between Dr Rhiannon Jones and Professor Grant Kester – which took place at Nottingham Contemporary for InDialogue 2016. It was informed by a series of pre-rehearsed conversations that included time for reflections on the previous keynote by Professor Grant Kester at InDialogue in 2014. As a foreword to this conversation, reference was made to a previous conversation between Jones and Kester at InDialogue2014, (available here https://youtu.be/QDS4c-piY0w ) and the book written by Grant Kester ‘Conversation Pieces’ (2008), in which it is stated that conversations need to continue. To this end, the conversation for 2016 was carefully curated and designed to clearly signpost the dialogic methodological approach that both researchers take up as a position - which is that conversation is iterative and an ongoing / re-informing process. The decision was made to approach this conversation as a working paper, and to structure the conversation by application of a series of research questions to create a framework to generate a discourse between them, whilst also locating it within the national and international contemporary context for dialogic practice. It engaged with the overarching enquiry of InDialogue – which asks how artists and researchers use dialogue in their practice. This was then used as a device through which their conversation provided the engaging audience, made up of artists and researchers with the opportunity to present works, develop ideas and networks and to test out ideas. Their conversation part-curated, and part improvised discussion reflected their positions taken within the field about the role and use of the dialogic. In doing so, the conversation, engaged with contemporary references as well as those set out in texts written by Grant Kester, such as Conversation Pieces (2004) and The One and the Many (2011). The dialogue that occurred between Rhiannon and Grant set out the research terms of reference for the audience online and in the room - through which InDialogue engages with critically and practically. There was a total of 150 artists and researchers engaged with the session. It also embedded InDialogue as ' the only platform I (Grant Kester), know of that provides a space for substantive international exchange on issues associated with dialogue, across the boundaries of visual art, theatre and performance studies. It provides a rare opportunity for researchers and artists in all of these disciplines to learn from each other and does a great deal to advance the critical conversation in this burgeoning field. As dialogue and participation become ever more central methods across the arts and humanities events like InDialogue will only become more important. (Grant Kester, 2016). This conversation is considered as a live research enquiry, offering a specific time and space – literally and metaphorically for reflection and the generation of conversation. Equally this position or offering is addressed during the discussion - what is exactly meant by it? What can be ascertained through its use and what dialogic reflection means to the individual practitioner? The conversation opens with remarks from Rhiannon Jones on the movement of time, “both personally and professionally, certainly a lot has changed within the arts and academic communities world wide. So, what does that mean for us all on a day-to-day basis? How does this affect dialogically engaged practice research and where do we see this discipline heading over the forthcoming years? “(Jones, R. 2016 In Conversation with Grant Kester, InDialogue, UK) And Rhiannon continues by saying that “in speaking we will propose more questions and provide less answers - so that the conversation can indeed continue after this keynote with one another, and within our wide arts and research communities thereafter… “(Jones, R. 2016 In Conversation with Grant Kester, InDialogue, UK) Research Questions discussed: • When is dialogue “dialogic”? • What are the core principles? As artists and researchers, often working with the public in a very visible way, I would like to ask you what do you think our core principles for public engagement should now be? • How do we assess dialogical practice in the post-Brexit/Trump moment? Following on from this… How do we reassess the role of the dialogic, is the role of the dialogic more pertinent now than ever before as we enter a new era of post Trump and Brexit? • What are the limits of dialogue? How do we confront the limits of dialogue? Are there limits? How do we assess this? What do we measure dialogic practice against? Life/society/culture? • How do we measure impact? A question on the Impact of dialogic art projects – how do we measure impact – something we are asked to demonstrate more and more, is this something we can only achieve retrospectively? How are we living in an age of measurability and accountability, do we need to embrace this or fight against it – as artists as academics? Who is measuring who? Notes: Grant Kester, Professor of Art History and the founding editor of FIELD: A Journal of Socially Engaged Art Criticism. Kester is one of the leading figures in the emerging critical dialogue around “relational” or “dialogical” art practices. His publications include Art, Activism and Oppositionality: Essays from Afterimage (Duke University Press, 1998), Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004) and The One and the Many: Contemporary Collaborative Art in a Global Context (Duke University Press, 2011). His curatorial projects include “Unlimited Partnerships: Collaboration in Contemporary Art” at CEPA Gallery in Buffalo, New York in 2000 and “Groundworks: Environmental Collaborations in Contemporary Art” at Carnegie Mellon University in 2005. Kester's essays have been published in The Blackwell Companion to Contemporary Art Since 1945 (Blackwell, 2005). He is currently completing an anthology of writings by art collectives working in Latin America, in collaboration with Bill Kelley. Start YouTube video at 5:07:13
    • Kick-Drum signal acquisition, isolation and reinforcement optimization in live sound

      Hill, Adam J.; Hawksford, Malcolm O. J.; Rosenthal, Adam P.; Gand, Gary; University of Essex; Gand Concert Sound (Audio Engineering Society, 2011-05)
      A critical requirement for popular music in live-sound applications is the achievement of a robust kick-drum sound presented to the audience and the drummer while simultaneously achieving a workable degree of acoustic isolation for other on-stage musicians. Routinely a transparent wall is placed in parallel to the kick-drum heads to attenuate sound from the drummer’s monitor loudspeakers, although this can cause sound quality impairment from comb filter interference. Practical optimization techniques are explored, embracing microphone selection and placement (including multiple microphones in combination), isolation-wall location, drum-monitor electronic delay and echo cancellation. A system analysis is presented augmented by real-world measurements and relevant simulations using a bespoke Finite-Difference Time-Domain (FDTD) algorithm.
    • Kinetic modelling of synaptic functions in the alpha rhythm neural mass model

      Basabdatta, Sen Bhattacharya; Coyle, Damien H; Maguire, Liam P; Stewart, Jill; University of Lincoln (Springer-Verlag Berlin Heidelberg, 2012)
      In this work, we introduce the kinetic framework for modelling synaptic transmission in an existing neural mass model of the thalamocortical circuitry to study Electroencephalogram (EEG) slowing within the alpha frequency band (8–13 Hz), a hallmark of Alzheimer’s disease (AD). Ligand-gated excitatory and inhibitory synapses mediated by AMPA (α-amino-3-hydroxy-5-methyl-4-isoxazolepropionic acid) and GABAA (gamma-amino-butyric acid) receptors respectively are modelled. Our results show that the concentration of the GABA neurotransmitter acts as a bifurcation parameter, causing the model to switch from a limit cycle mode to a steady state. Further, the retino-geniculate pathway connectivity plays a significant role in modulating the power within the alpha band, thus conforming to research proposing ocular biomarkers in AD. Overall, kinetic modelling of synaptic transmission in neural mass models has enabled a more detailed investigation into the neural correlates underlying abnormal EEG in AD.
    • Kissing women: The fiction of Sarah Waters

      Bishton, Joanne; University of Derby (Lucian Blaga University Press, 2008)
      The lesbian historical novel is a genre that has been consistently neglected. Reasons of censorship and lack of credibility, during an increasingly hostile Victorian era, forced lesbians into exile, denying them their subjectivity and distancing them from any notion of same sex desire. Inevitably, lives have been lost or forgotten as a consequence. Looking at three of Sarah Waters novels, Tipping the Velvet, Affinity and The Fingersmith, this article intends to consider the existence of the marginalized working class lesbian. It hopes to show how a contemporary woman writer successfully exploits the unreliability of history in order to replicate a series of romantic fantasies and in so doing, it will argue that Waters’ fiction makes it possible to envisage lesbian desire beyond the limitations of heterosexual paradigms. Feminist and queer theory engagement with the texts will highlight the way Waters repossesses the desiring lesbian body, examining a series of erotic lesbian portrayals.
    • Kitchen living in later life: Exploring ergonomic problems, coping strategies and design solutions

      Maguire, Martin C.; Peace, Sheila; Nicolle, Colette; Marshall, Russell; Sims, Ruth; Percival, John; Lawton, Clare; Loughborough University (2014-04-30)
      The kitchen is an important area in the home serving many purposes both functional and social. It is central to enabling people to stay within their own homes in their later life. As part of a detailed study of ‘past’ and ‘present’ kitchen living, semi-structured interviews were conducted with 48 older people about their current kitchen and how well it met their needs. It was found that personal problems with reaching, bending, dexterity and sight were more likely to be experienced with increasing age while for specific tasks, ironing and cleaning created the most difficulty. The paper reports on coping strategies and simple innovations made by the participants to address the problems they experienced. A challenge for kitchen designers, manufacturers and installers is to think in terms of kitchens that are more flexible and adaptable to people’s changing needs.