• Documents, Alternatives #4

      Bartram, Angela; University of Derby (2020-09)
      The on-line curated exhibition ‘Documents, Alternatives #4’, by Angela Bartram, aims to isolate, address, find and utilize appropriate means to translate a diverse range of practice digitally whilst remaining true to its artistic intent. It offers a series of responses through the format of an on-line exhibition of ephemeral artworks, that is designed to self-curate with each user visit. The artworks have undergone physical and conceptual change as they have travelled through each of three gallery situated exhibitions as part of the series already, with this being the fourth. Each iteration is an integral part of a conversation, with the artworks adapting and transforming with each exhibition to form a continuing dialogue. With the three previous gallery-based ‘Document, Alternatives’ exhibitions, this online version sets the agenda for how the ephemeral artwork is re-staged via non-tangible means to produce a document that is both virtually static and physically unfixed. This work is part of the Alternative Document, a large-scale multi-mode project that occupies the complex, yet topical terrain of documentation, acting in response to the antithetical practices of lens-based methods historically used to archive and record ephemeral works. An evaluation and re-shaping of artworks (the performance, installation, projection and participatory practice first exhibited as part of the Alternative Document, Project Space Plus, 2016) will establish how best to communicate and translate ephemera via web-based digital resources. Contributing to the extremely topical conversation in the field of appropriate and different modes of archive, this will lead to a resource that will be available to, and inform new audiences on the complexities and potential of the subject. The project aims to accommodate diversity of approach and access, and to include multiple voices and modes of output, and to this end will research and develop creative ways to establish a user-friendly on-line resource.  The archive for the whole project can also be found on this site, including: #1: Airspace Gallery, Stoke on Trent, 17 November - 16 December 2017 #2: Verge Gallery, Sydney, 18 January – 24 February 2018 #3: BSAD Gallery, Bath Spa, 20 April – 1 May 2018
    • Feature: Angela Bartram - 366:366 (eventually; animated; finally), 2016-2020

      Bartram, Angela; University of Derby (Invert/Extant, 2020-09-15)
      For the leap year of 2016 I exhaled on an etching plate every day, at roughly 8pm. 366 breaths layered on the same surface, in the same place, and at roughly the same time. Each breath took about four seconds to lay on an A5 zinc etching plate. So, roughly 1464 seconds in total, or just over twenty-four minutes, or a third of an hour…that is a lot of breath. I had worked with the mouth as an instrument for drawing and object making in performances and other ways for years, and this work is part of that practice. The mouth, what some theorists would term a vulnerable orifice, made useful and invulnerable (perhaps) through creative process. But surely this was doomed to failure, for how could breathing produce an image in this way? Really, I didn’t care. For this was an exploration of repetition within process, the mundane within the order of making.
    • Supply chain management 4.0: Literature review and research framework

      Zekhnini, K., Cherrafi, A., Bouhaddou, I., Benghabrit, Y., Garza-Reyes, J.A.; University of Derby (Emerald, 2020-09-23)
      This article presents a review of the existing state-of-the-art literature concerning Supply Chain Management 4.0 (SCM 4.0) and identifies and evaluates the relationship between digital technologies and Supply Chain Management. A literature review of state-of-the-art publications in the subject field and a bibliometric analysis were conducted. The paper identifies the impact of novel technologies on the different supply chain processes. Furthermore, the paper develops a roadmap framework for future research and practice. The proposed work is useful for both academics and practitioners as it outlines the pillar components for every supply chain transformation. It also proposes a range of research questions that can be used as a base to guide the future research direction of the field. This paper presents a novel and original literature review-based study on SCM4.0 as no comprehensive review is available where bibliometric analysis, motivations, barriers and technologies’ impact on different SC processes have been considered.
    • Benchmarking of sustainability to assess practices and performances of the management of the end of life cycle of electronic products: a study of Brazilian manufacturing companies

      Gonçalves da Costa, L., Espíndola Ferreira, J.C., Kumar, V., Garza-Reyes, J.A.; Universidade Federal de Santa Catarina, Florianópolis, SC, Brazil; University of the West of England; University of Derby (Springer, 2020-09-22)
      The relentless pursuit of lower production costs causes companies to invest in more efficient production systems so that they can remain economically competitive, while the actions focusing on more sustainable operations from an environmental point of view are usually performed to meet the political government regulating environmental control. However, it is common for companies to focus their efforts to minimize the environmental impacts at an early stage of the product life cycle, neglecting sustainability management in the post-use phase. Given the context, this study seeks to develop sustainability indicators that can be used by the electronics industry to assess the level of practice and performance during production that are related to product recovery after the use phase, in order to better understand how companies are acting to reduce the environmental impacts of their products at the end of their life cycle. Initially, critical success factors related to environmental management of the product’s end-of-life are obtained. Then, some of those critical success factors are prioritized, giving rise to the indicators of sustainability used in the benchmarking method. Benchmarking was performed in electronics Brazilian companies, and the data was obtained by means of a questionnaire and interviews. It is concluded from the results that the proposed indicators are suitable for measuring the levels of practices and performance of the participant companies in environmental management at the end of the product life cycle as the indicators were able to portray faithfully the reality of each company.
    • CaCO3 Composite Images

      Jones, Rhiannon; Kelly, Traci; University of Derby (2019-11)
      A series of composite images were created to explore research-creation as a methodology for Kelly and Jones, through which they embraced the unknown as a way to inform and develop the series of works into conceptual thinking around chalk deposits from past marine lives and how this is distilled into visual and audial practice. Kelly and Jones worked in two sites - an old school stairwell and a chalk pit and used their own bodies as sculptural soundscapes to form fragile and precarious interplay with the site. The documenation from the explorative residencies in the two sites in turn became the artwork and formed the series of composite images that were then commissioned by The Glass Tank, Oxford. The composite images create a visual relationship that explores the interplay between between the artists body as site and landscape as site.
    • Sculptural works CaCO3

      Jones, Rhiannon; Kelly, Traci; University of Derby (2020-01)
      Sculptural Works CaCO3 series were produced to explore writing-as-becoming. The works question the material world of the human and non-human body (chalk deposits from past marine life), in order to explore the dialogic relationship of the female body and its relationship to authorship and the writerly. The sculptural works were created as interactive documentation of the research enquiry to excavate the work. The sculptural works produced the following sculptures, which were later commissioned for display at The Glass Tank, Oxford 2020. The works produced were: 1. Screwed chalk (see images) 2. Steps and hosiery (see images) 3. Strata (see images) Through creating the sculptures we repurposed the traditional idea of exhibiting visual art as display and as fixed point to exhibiting as research and as touch – to feel the way to the next level, to allow others to intervene and alter course, expand discourse.
    • Chalk Drawings

      Jones, Rhiannon; Kelly, Traci; University of Derby (2020-01)
      The chalk drawings created were in response to exploring the relationship between body through breath and past life. The act of drawing through alternative gestures and use of the body and the relationship between writing as a female form and act. It explored the fragile nature of writing through the material relationship to paper and the non liner and use of the fold and the edges. The work provoked a discourse as to the conditions and gestures that precede writing.
    • Deploying Kaizen events in the manufacturing industry: An investigation into managerial factors

      Garza-Reyes, J.A., Christopoulos, C., Kumar, A., Luthra, S., Gonzalez Aleu, F., Kumar, V., Villarreal, B.; University of Derby; University of Warwick; London Metropolitan University; Ranbir State Institute of Engineering & Technology, India; Universidad de Monterrey, Mexico (Taylor & Francis, 2020-09-24)
      Despite the extensive research on Continuous Improvement (CI), limited reflection has been reported regarding the managerial factors needed to successfully deploy Kaizen Events (KEs). This study investigates various managerial aspects that affect the implementation of KEs. After conducting a literature review and gathering experts’ inputs, the objectives of the study and six research questions were formulated. A survey questionnaire responded by 175 manufacturing organisations was designed and validated. A combined approach of descriptive statistics and one-way ANOVA tests were used to analyse the collected data. Besides other ‘soft’ aspects, the results determine: (1) the drivers and barriers in the pre-implementation stage of KEs; (2) the critical success factors and challenges related to the implementation stage of KEs; (3) the reasons that result in unsuccessful KEs; and (4) the reasons that stop organisations from running KEs. The study provides insights into an under-researched topic by looking at different phases of KEs implementation. The study contributes to the contingency and the RBV theories by offering an understanding of the importance of different contingencies and resources planning for KEs implementation. The findings are beneficial for industrialists who may aim at driving CIs in their organisations through the implementation of KEs.
    • For We Are Made Of Lines

      Jones, Rhiannon; Kelly, Traci; University of Derby (University of Melbourne, 2020-09)
      As a poetic exploration of the collaborative practice of Kelly + Jones (2014-2020), this article critiques processes employed by the artists to excavate writing and site with attention to aspects of sound. The sites of investigation include a disused quarry in Cambridge, UK . The use of the chalk quarry creates a unique ambience/ambiance – which can be considered theoretically in relation to phenomenological, dialogical, and post- feminist perspectives, in tandem with a partnered site of an old staircase with integral chalkboard in a former inner-city Victorian school. The site-specific nature of the investigation requires that environmental ambience is noted and processed through the body as a material quality instrumental in rendering form. The material ambience of site is also embroiled with the cultural ambiance of received convention and practices that seep into diverse modes of expression through and off the body that is inescapably conditioned by the translation of social relations. Also to consider is an inter-relational translation from environment to tissue where cultural memory embeds in the yet-to-emerge gestures of the anticipated. Throughout this text ambience is a reference to physical and sensed qualities and ambiance to the cultural uptake that conditions individual subjectivity within its political realm. The gouging and scarring of the landscape where chalk has been blasted, hacked and removed, and the striking of surfaces inherent in chalk on board in regimes of education and enculturation chime with the violent and strident nature of writing a subject into being, even more evident in acts of resistance. The sifting of dust particles into the lungs of workers and educators are a reaction inducing irritant causing bodies to spasm in coughs and soft tissue to mobilise and swell. The artists value this material and cultural aspect as a site of troublesome proliferation on the side of the feminine. The collaborative writing offers a glimpse into the artists’ questioning of the material world of the human body and the spent bodies of marine-life which create chalk deposits, in order to explore the dialogic relationship of the body and its ambiant hauntological qualities . Though the project holds personal resonance and subjectivities for the artists tethered to site intimacy, in this instance they opt to share their research through the distance of third person. Through the culturally received dominance of the masculine empirical voice this could be viewed as a replication and appropriation of a hierarchical voice-as-trope rather than a subversion towards the non-binary. The artists have different intentions for use. By putting aside the intimacy of the first person the artists intend to draw attention to the there-yet-not-there qualities of the hauntological scene and to perhaps open a space where the reader can insert their own subjectivity as they wander through a newly encountered and perhaps dense terrain. A reader may find their own ways to enter the unoccupied space of first person and disrupt the flow of words and events, altering the course of the article within their individual encounter. Similarly, the practical research around writing resists using text because of its inherently hierarchical disposition in terms of gender, race and class codes and exclusions. By refusing to offer decipherable text in the practical investigations the artists set up an alternative provocation utilising grammatical signs and symbols. By tampering with the form and avoiding the defining sense of a word they aim to resist boundaries and enable ‘the structural enigma which inaugurates the scene of writing’. (Castricano 2001) As part of their investigation into the site of writing, this essay creatively contemplates the role of the body as an instrument for making and storing sculptural sound documentation to excavate work based on re/calling, un/calling, production and erasure within phenomenological experience. Kelly + Jones embrace the unknown within research-creation as the ground for potentiality in thinking around chalk’s materiality and the cultural significance of mark-making as a condition of writing a subject into being. The collaboration probes how this might be distilled into enmeshed visual and audial practice through creating a micro-ecology of sound-body interventions. Through their improvised gestures ambiance is situated as a dis/embodied oscillation that only exists in the moment of interplay between artists and site, which the artists consider live ‘jamming sessions’ within a responsive and improvised practice. The unforetold of improvisation and the discursive nature of ambiance necessitate the grapple of emergent subjectivity and its possible transgressions. The relationship between sound-body-landscape blurs the lines of formation of ambiance, as a site of re/action. Ambiance’s unfaithful and generative translation into gesture resists ontological distinctions and casts shimmering generative interplays. The exploratory works in the quarry consider the artist as instrument and sensitised corporeal recording device, the pit as echo chamber, and the artists’ interventions in the site as soundscapes – visceral, live scores that are embodied. The positioning of the artists’ bodies as a point of resonance in building sculptural soundscapes constitutes a fragile and precarious interplay with the site. This evolving body of work is a series of multimedia-based artefacts and live works that explore the contextual process of writing through the body and the writing of sound-as-site into being.
    • Kelly and 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 during lockdown online so that Kelly and Jones could share insights and learnings of the exhibition process with the seers. Kelly and 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 and Jones extend an invitation to the seers to create site-specific responses to the exhibiting context. The conversation was hosted by Kelly and 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.
    • Distilled

      Jones, Rhiannon; Kelly, Traci; Wrexham Glyndwr University (2021-03)
      This solo exhibition by Kelly and Jones explores the researchers use of the language of the pharmacy in relation to writing and chalk e.g. display methods including evaporating dishes. THIS EXHIBITION HAS BEEN MOVED TO 2021 DUE TO COVID19
    • Kelly and Jones : The Glass Tank Seers in Residence CaCO3

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (2020-02)
      Kelly and Jones' research explores a decentralised and phenomenological methodology for approaching shared research dynamics. The Kelly and 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 and Jones proposed that this model should form part of their practice as research exhibition at TheGlassTank, 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. 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 x 1 or twice a week x 2 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 and 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 and 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 and Jones exhibition as part of the research enquiry 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 was evidence 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.
    • Un/writing the landscape, re/figuring the body

      Jones, Rhiannon; Kelly, Traci; Klein, Jennifer; Walkington, Helen; Howard, Janice; Pill, Deborah; University of Ohio; University of Derby; Oxford Brookes University; University of Bergen (PABlish, 2020-12)
      As visual artists Kelly and Jones' engagement with writing took a turn away from the production of text. It became a broader visual and performed investigation into site and the materiality of writing and the place of the body as a scripting phenomena that writes itself into being in proximity to myriad otherness. Abandoning any form of recognisable text, the residency became about subverting written language by returning to the gesture, the instinct and the materiality whose mark-making predates fixivity. This area has become the milieu in which our collaboration operates. It is an organic and intermittent collaboration that bubbles in the gaps and suddenly erupts into different spaces and contexts. This publication is the outcome of the practice as research conducted through: Kelly and Jones solo exhibition at The Glass Tank The seers in residence programme by Kelly and Jones Kelly and Jones in conversation with seers - research discussion event Collaboration with University of Ohio, Professor Jennie Klein Bergen Performing Arts, PABlish The publication is an edited series of texts, performative gestures and provocations that has been written and peer reviewed with a foreward by Professor Jennie Klein, University of Ohio.
    • A qualitative analysis of psychological processes mediating quality of life impairments in chronic daily headache

      Tenhunen, Katri; Elander, James; University of Derby (SAGE Publications, 2005-05-01)
      Quality of life impairments are greater in chronic daily headache (CDH) than in episodic headache conditions like migraine. This qualitative interview study aimed to identify psychological processes associated with quality of life impairments among individuals meeting diagnostic criteria for CDH. Grounded theory analysis showed that perceived loss of control was the central experience mediating the impact of CDH on quality of life. The results provide explanations for previous quantitative findings about quality of life impairments in CDH and could inform interventions to reduce the impact of CDH. Further research could also examine the roles played by perceived control in the onset and development of CDH, including possible links with pre-emptive analgesic use.
    • Specialized business incubators as a strategy for small and medium-sized enterprises in the industry 4.0 era – a systemic approach

      Bosques-Brugada, G., Mendoza-del Villar, L.A., Oliva-López, E., Garza-Reyes, J.A., Tupa, J.; University of Derby (IEOM Society, 2020-08)
      The present research aims to get a holistic view of the characteristics of specialization in business incubators models. This paper centers on building a general framework by taking into account a holistic look at the features, profiles, advantages, and disadvantages of specialization in business incubators models. The strategy aims to impact mainly stakeholders by adopting business incubators strategies, especially to those tenant firms of the manufacturing sector related to emerging technologies such as Industry 4.0 technologies. Moreover, the framework is built based on the discussion of the leading representatives' heads of the specialization in the field of specialized business incubators' models. The strategy aims to reduce the current short-term death rate expectancy prevailing in the contemporary economic context by a robust business model for business incubation. Business incubators hold tenants into a hub with not only supportive facilities for the business without investing vital capital, which is not part of their core chain value but also harnessing the closer source of knowledge transfer and skilfully workforce-related on these technologies. Finally, remarks and recommendations are proposed for futures tenant companies' prospects, who wish to reduce the bankruptcy risk by boosting innovative goods and services with high technological development in a specific field of knowledge.
    • Arts in health: Pregnancy, birth & new parenthood

      Hogan, Susan; University of Derby (Routledge, 2020-08-06)
      Art making offers a means for women to express and understand their changed sense of self-identity and sexuality as a result of pregnancy and motherhood. This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book introduces readers to the various ways in which art is being used with women who are experiencing different stages of childbearing–who may be unable to conceive and are struggling with infertility treatment, or experience miscarriage and loss, or are facing other issues of adjustment. It acknowledges that ideals around pregnancy and childbirth are highly contested, that this contestation, coupled with the very liminality of the event itself is challenging, if not potentially destabilising for new mothers and their partners. The English political activist and law reporter Vanessa Olorenshaw has pointed out that motherhood demands interdependence and sits uncomfortably with the dominant neo-liberal ideology of ‘self’ and ‘individualism’ as the core objects of a happy selfhood.
    • Photography

      Hogan, Susan; University of Derby (Routledge, 2020-02-24)
    • Myths for a wetlands imaginary

      McCloskey, Paula; University of Derby (Paula McCloskey, 2019-11)
      This ; a place of their own (artist duo Paula McCloskey and Sam Vardy) project explores the potential of art to create resistant wetland imaginaries as alternate to dominant carbon and capitalist ones. Commissioned by Arts Catalyst for Waltham Forest Borough Council’s Art Assembly, it was developed through a 3-month residency at Walthamstow Wetlands Centre (WWC) and included participatory workshops (on maps, stories and myths), a site-responsive performance walk and multi-media gallery installation. The inquiry asks how a transdisciplinary art practice working with the sciences and indigenous knowledges opens up alternate ways for disparate communities to think about climate change, biodiversity and colonialism; and what the role of art can be in producing resistant counter-imaginaries to capitalist and carbon imaginaries? Wetlands are one of the earth's most important ecologies, yet also one of the most threatened. This project situated wetland loss as part of global colonialism (Gómez-Barris, 2018), and attended to a paradoxical condition of wetlands which has immense potential: while their global destruction is due to dominant carbon/capitalist imaginaries they can yet open up new imaginaries through their unique ecologies, biological processes, entanglements of human/nonhuman, local and global relevance, and in enabling different knowledges. My transdisciplinary method involved collective inquiry, working with different specialist knowledges: environmental scientists (e.g Dr. Ian Crump), indigenous artists (e.g Rod Garlett, Noongar people, W. Australia), London Wildlife Trust, writer/artist Season Butler and sound artist Gary Young, and situated knowledges from Waltham Forest community. The residency made visible intimate relationships between personal, local, experiences of wetlands and their planetary dimension. The performance and public installation articulated complex biological, ecological and political ideas of new multiple relational possibilities. These activities started to reveal a ‘global wetlands imaginary’ as an ecological imaginative space for human and nonhuman co-existence, as a metaphor for new forms of multispecies solidarity. As part of the art and spatial research practice ;a place, of their own. (aplaceoftheirown.org) Dr Paula McCloskey (Derby University) and Dr Sam Vardy (Sheffield Hallam University) were commissioned by Arts Catalyst (artscatalyst.org) (funded by Arts Fund) to produce art and spatial research practice project Myths for a Wetlands Imaginary. This project developed through a residency at Walthamstow Wetlands Centre (WWC) over 3 months, as an inquiry into global wetlands loss and an exploration of resistant wetland imaginaries, including arts-based participatory workshops producing maps, stories and myths, a site-responsive performance-walk and multi-media interactive installation. In 2019 ; a place, of their own was commissioned by Arts Catalyst to lead on an Arts Fund funded project as part of first London Borough of Culture Waltham Forest Borough of Culture (https://wfculture.co.uk/about). We were asked to develop a ‘radically socially engaged’ art project in the London borough of Waltham Forest, which would culminate in a sharing ‘Assembly day’ on the 23 November 2019. Having conducted some research we developed a project ‘Myths for a Wetlands Imaginary’ a project s site-responsive project, which employed arts and spatial methods to work with communities of Waltham Forest Borough to explore our continued concern with climate urgency by focusing on the importance of wetlands, both locally to Waltham Forest, as well as globally. Waltham Forest is a borough in northeast London divided in terms of its demographic; with the south being a more urban district and socio-economically less affluent, than the suburban areas to the north, the latter also having better access green spaces (Waltham Forest Report, 2018). The River Lea lies to the west and adjoins marshland onto which the Walthamstow reservoirs which were built over fifty years between 1853 and 1904 by the East London Waterworks Company (Walthamstow Wetlands, 2020). Over the years the Walthamstow reservoirs grew to meet the needs of an expanding London, and in the 1970s the control of the Wetlands went to Thames Water. In 2017, following a partnership project (Waltham Forest Council, London Wildlife Trust and Heritage Lottery Fund) the purpose of which was to transform the site into a distinctive urban, multipurpose, wetland reserve, Walthamstow Wetlands opened to the wider public. The site is 211-hectares with a smaller satellite of Woodberry Wetlands and now offers 300,000 local residents within a two-mile radius easy public access to one of the largest urban nature reserves (Gearey, et al, 2019). Wetlands are one of the earth's most important ecologies, yet also one of the most threatened. Wetlands globally are intimately related to settler colonial practices, particularly through urbanisation (Giblett, 2018) which has destroyed wetlands and the indigenous communities depending on them across most continents. Exploring indigenous knowledges and relations to wetlands (e.g. in Australia and Canada) opens up important counter-narratives of the wetlands and counter-histories of colonisation, from the perspective of the land and indigenous people. This project situates wetland loss as part of global colonialism (Gómez-Barris, 2017, 2018), responding to the proposition that wetlands embody a paradoxical condition which has immense potential - while their global destruction is due to dominant carbon/capitalist imaginaries they yet hold potential to open up new imaginaries through their unique ecologies, biological processes, entanglements of human/nonhuman, their local and global relevance, and in enabling different knowledges. This inquiry asks us to pay attention to wetlands, from their histories which are social and culturally mediated with many being destroyed as part of the colonial project, hydroengineering or land development with devastating human/nonhuman and ecological impacts. In so doing, we explore other interactions with wetlands, locally and global that allow us to (re)imagine wetlands as we attempt to forge alternative to dominant imaginaries. The inquiry asks how a transdisciplinary art practice working with the sciences and indigenous knowledges, as well as popular culture opens up alternate ways for disparate communities to think about climate change, biodiversity and colonialism; and what the role of art can be in producing resistant counter-imaginaries to capitalist and carbon imaginaries? Walthamstow Wetlands are an historic reservoir system in north-east London that still performs a vital role in supplying 3.5 million London households with water. Over the years the Walthamstow reservoirs grew to meet the needs of an expanding London, and in the 1970s the control of the Wetlands went to Thames Water. There are two significant Victorian industrial buildings still standing on the site, the Coppermill and the Marine Engine House (Walthamstow Wetlands, 2020). The Wetlands are now a sanctuary for a notable variety of wetlands birds, with over 300 different plant species. reservoirs grew to meet the needs of an expanding London, and in the 1970s the control of the Wetlands went to Thames Water. There are two significant Victorian industrial buildings still standing on the site, the Coppermill and the Marine Engine House (Walthamstow Wetlands, 2020). Theoretically the work is grounded in critical approaches to geopolitics (e.g. notions of 'geopower' from Elizabeth Grosz, Elizabeth Povinelli and decolonisation from Sylvia Wynter, Kathryn Yusoff, and others). Astrida Neimanis hydrocommons is an important in conceiving of the wetlands as a figure. She writes: as bodies of water we leak and seethe, our borders always vulnerable to rupture and renegotiation. With a drop of cliché, I could remind you that our human bodies are at least two-thirds water, but more interesting than these ontological maths is what this water does – where it comes from, where it goes, and what it means along the way. Our wet matters are in constant process of intake, transformation, and exchange – drinking, peeing, sweating, sponging, weeping. Discrete individualism is a rather dry, if convenient, myth. (Neimanis, 2017, p 2). Neimanis thinking with water, as water conjures a watery imaginary to challenge anthropocentrism. It serves as a counter to human discreetness and notions of separatedness from an external, stable ‘nature’ out there. This is important to thinking more specifically as wetlands, of how they are sites of watery embodiment as are humans. ‘Wetlands’ as material and as concept signify the urgency and viscerality of wetlands in the face of climate urgency , as well as being incredibly effective ‘carbon sinks’ they contribute to global biodiversity, providing safe drinking water, and minimise flood risk. Wetlands thus span a nexus of theoretical, scientific and artistic inquiry. They are complex ecologies that are generative of and sustainers of life, both human and nonhuman. They are asignfying as places of sense and affect, with flows of energies. They are dynamic planes that quiver and vibrate. They are historical places of social relations and political praxis with each wetland site bearing witness to complex situated histories. to think of how an art practice might offer something different – not a re-representing of the wetlands, or a presentation or visualisation of some of the science but we wanted to create a visceral encounter, an affective intra-action that started to enact a wetland imaginary through experience. This research developed through a multi-modal arts inquiry, including arts-based participatory workshops producing maps, stories and myths, a site-responsive performance-walk and multi-media installation. Initial research involved site visits to Walthamstow Wetlands, walking, taking pictures, meeting people with specialist knowledge, such as Ian Crump (Biodiversity Office, Thames Water) and meeting community members. Ian walked us around the wetlands sharing his knowledge of the flora and fauna, we well we the complex water treatment processes. These discussions, the walking process and documenting, along with desktop research revealed the specific relations of this wetlands, in terms of its histories, and its evolution to a mixed purpose, complex ecology, recreation space, and water treatment centre. This was a public facing event where invited participant to explore wetlands at the Walthamstow Wetlands Centre (WWC https://walthamstowwetlands.com/myths). The first part of the workshop involved a guided walk around the wetlands by Alison O’Conner from the London Wildlife Trust. This walk situated the participants (20-30) in the local wetlands condition, an embodied experience from which to explore global wetlands in the second part of the workshop. The Walthamstow site with its unique characteristics meant that the mapping workshop, storytelling workshop, performance and the interactive installation were strongly site-responsive, situated and specific, while from the outset we looked to understand them within their planetary condition. The basis for the mapping was the ‘Ramsar’ interactive website (ramsar.org). ‘Ramsar’ refers to the Convention on Wetlands, the intergovernmental treaty that provides the framework for the conservation and wise use of wetlands and their resources. The Convention was adopted in the Iranian city of Ramsar in 1971 and came into force in 1975. Since then, almost 90% of UN member states, from all the world’s geographic regions, have acceded to become “Contracting Parties” (ramsar.org). The Ramsar Sites Information Service (RSIS) provides online information on wetlands that have been designated as internationally important, hosting an interactive map (rsis.ramsar.org). This site includes a searchable database of Ramsar Sites, which holds information on the wetland types, ecology, land uses, threats, hydrological values of each Site as well as spatial information: • downloadable copies of Ramsar Information Sheets (RISs) for each site which have been provided by the Contracting Parties, including maps and supplementary information, Site summaries, and exportable data sets; and • digital (GIS) boundaries of Sites, where available. (rsis.ramsar.org) Following the guided walk, and a presentation by Sam Vardy and Paula McCloskey of the overall project background including an introduction to ‘wetlands’, and both the local and global context, we turned to the Ramsar database to collectively explore other wetlands across the planet. Having explored the database as a presentation, and demonstrating the process of inquiry, participants were asked to work in pairs or threes to explore the planetary wetlands on the system and select one; to download a satellite image and key information about the chosen wetland, and to write a short story or myth about it. The activity was used to further the discussion about wetlands, to share understandings, experiences and ideas and to start to collectively visualise the planetary condition and characteristic of the figure of the wetlands. The documentations (satellite map, text about the sites) were then printed to form part of the interactive exhibition at the Assembly Day on the 23rd November 2019. Storytelling Workshop 07.11.2019 We invited the writer/artists Season Butler (seasonbutler.com) to lead a session following on from the mapping workshop. Season is a writer and artist, interested in similar themes of climate urgency and explored through performance and writing. Season guided the group through a series of writing exercises from which they would start to write their own wetlands myths. Performance Walk 07.11.2019 A key element to the research was to create a site-responsive performance. Through a combination of desk-top research, co-researching and co-thinking about wetlands from different people’s experiences with the participants in the workshops (detailed above), working with indigenous artists Rod Garlett and undertaking many site visits we started to devise a performance walk. The site visits allowed us to spend time with the wetlands, experience how it changes as the season change from late summer hot summer days when the water teemed with life, the air was heavy and Interactive installation 23.11.2019 On the 23 November 2019, as part of Waltham the three-month residency culminated with the Art Assembly Festival in Walthamstow as a celebration of Waltham Forest being London’s 2019 Borough of Culture. For this we created We also created a new audio-visual film using original footage from Walthamstow Wetlands and a devised multi-media installation which involved workshops, talks, mapping and a soundscape performed by sound artists Gary Stewart. Over 300 attended on the day and participated. References: Comyn-Platt, E., Hayman, G., Huntingford, C.,Chadburn, S., Burke,E., Harper, A., Collins, W., Webber, C., Powell, T., Cox, P., Gedney, N., Sitch. S., Carbon Budgets for 1.5 and 2 °C Targets Lowered by Natural Wetland and Permafrost Feedbacks. Nature Geoscience, 2018. Gearey, M., Robertson, L., Anderson, J., Barros P., and Cracknell, D.‘ Re-naturing the City for Heath and Well-being: Green/Blue Urban Spaces at Sites of Renewal and Contestation’ in Planning Cities with Nature: Theories, Strategies and Methods. edited by Fabiano Lemes de Oliveira, Ian Mell New York. Springer pp. 153-169 Gómez-Barris. M., Beyond the Pink Tide: Artistic and Political Undercurrents in the Americas. Berkeley: UC Press, 2018. Gómez-Barris, M., The Extractive Zone: Social Ecologies and Decolonial Perspectives, Durham. Duke University Press, 2017. Neimanis. A., Bodies of Water: Posthuman Feminist Phenomenology. Bloomsbury Collection. 2017 London Borough of Waltham Forest Local Plan Sustainability ... walthamforest.gov.uk › files › C0093_WFScopingReport_V3_130717 https://www.walthamforest.gov.uk/sites/default/files/C0093_WFScopingReport_V3_130717.pdf https://wfculture.co.uk/about
    • The career development profession: Professionalisation, professionalism, and professional identity

      Gough, John; Neary, Siobhan; University of Warwick; University of Derby (Oxford University Press, 2020-09)
      This chapter examines the professionalisation of career development provision in countries across the world. ‘Professionalisation’ and ‘professionalism’ are explored through several concepts, including social closure, the professional project, and the regulatory bargain. The chapter argues that professionalism is a useful and important concept for the career development field but recognises the challenges that the field has had in achieving professional status. It recognises some of the critiques that exist of professionalism and explores how these relate to careers professionals. It then argues that increasing professionalism within the field needs to be understood as an ongoing process that has to be conducted on the personal, organizational, and professional level. The chapter concludes by outlining some key strategies that the field can use to advance the cause of professionalism in the future.
    • Supplier selection for smart supply chain: An adaptive fuzzy-neuro approach

      Zekhnini, K., Cherrafi, A., Bouhaddou, I., Benghabrit, Y., Garza-Reyes, J.A.; Moulay Ismail University, 50500 Meknes, Morocco; University of Derby (IEOM Society, 2020-08)
      In recent years, companies have experienced international changes that have occurred as a result of technological advances, market globalization, or natural disasters. So, organizations are trying to improve their performance in order to be more competitive. In other words, organizations’ competitiveness highly depends on their suppliers. At present, companies need to consider and include so-called ‘resilience’, ‘sustainability’, and ‘smartness’ in the supplier’s selection to retain a competitive advantage. In this context, the purpose of this paper is to present an intelligent decision-making model for selecting the appropriate suppliers. For doing so, a set of criteria evaluation was determined to respond to the novel era circumstances. The suggested work is helpful for academics as well as professionals as it emphasizes the importance of resilient-sustainable supplier selection in the digital era.