Welcome to the Digital and Material Artistic Research Centre.

At D-MARC the focus of our research is on an understanding of the shifting boundaries and new relationships between traditional arts disciplines, which have been created by new technologies. We explore the creative potential of hybrid forms made possible by digitalisation, and are also concerned to develop theoretical and pedagogic understandings capable of keeping pace with, and informing, technological developments.

Recent Submissions

  • Be Your Dog (re-worked) at Mink Festival: A Zoo of the Pandemic

    Bartram, Angela; University of Derby (Mink Festival, 2021-01)
    Be Your Dog analyses the relationship that positions animal bodies as hierarchically other, by offering understanding of differing perspectives within domestic cohabiting pairs of inter-species companions. Developed with seven sets of established companions in workshops over two weekends at KARST, this inter-species ‘pack’ became co-performers in a concluding public event. All participants were positioned and were visible as artists and equals. This is a re-worked video taken from the footage of the public event.
  • ANTONYM: Life With and Without Animals: an online exhibition

    Bartram, Angela; Baker, Steve; University of Derby (2020-11)
    The online exhibition ANTONYM: Life With and Without Animals presents the work of eight artists from the UK, USA and Iceland at Artcore, Derby. Each makes artwork that engages with the more-than-human world, reflecting on contemporary threats to nonhuman life as well as on the pleasures of our relationships with other species. The exhibition coincides with the online conference Life With and Without Animals at the University of Derby, and is its companion exhibition. Like its companion, this exhibition was scheduled for physical delivery at Artcore, but due to the Covid-19 pandemic a decision was made to make this online. Both events were organised and curated by Steve Baker and Angela Bartram. The exhibition includes work by the following international artists: Andrea Roe and Cath Keay; Angela Bartram; Paula McCloskey and Sam Vardy; Johanna Hällsten; Julia Schlosser; Lee Deigaard; Bryndís Snæbjörnsdóttir and Mark Wilson; and Steve Baker.
  • Life with and without animals: the second (Un)common worlds conference

    Bartram, Angela; Baker, Steve; University of Derby (University of Derby, 2020-11)
    Keynote speakers: Dr. Susan McHugh, Professor of English, University of New England and Snæbjörnsdóttir/Wilson - Dr Bryndís Snæbjörnsdóttir, Professor of Fine Art, Iceland University of the Arts, Reykjavík, and, Dr Mark Wilson, Professor of Fine Art, Institute of the the Arts, University of Cumbria, UK. Following the first (Un)common Worlds conference in Turku, Finland in 2018, called Contesting the Limits of Human – Animal Communities, the animal research group within the Digital and Material Artistic Research Centre at the University of Derby presented the second, Life With and Without Animals, a one-day online animal studies conference in November 2020. When the term ‘animal studies’ was coined in the early 1990s it was initially envisaged rather narrowly as a subfield of the social sciences, but by the time of two large and ground-breaking international conferences in 2000 – Representing Animals in Milwaukee and Millennial Animals in Sheffield – it was clear that the arts and humanities were at least as important to this nascent field as the social sciences. Some of the concerns of those early conferences remain as important as ever: the avoidance of anthropocentrism, an attention to the lives and experience of nonhuman animals that does not reduce them to symbolic representations of human values, and a recognition of the contested but necessary role of animal advocacy within the field of animal studies. Other priorities have shifted, perhaps most importantly in recognition of the impact of climate change, environmental degradation and species extinctions, and the changes these have brought about to our understanding of, and engagement with the more-than-human world. This conference conveyed a sense of what the interdisciplinary field of animal studies looked like in 2020, and included contributions in support of this proposal. Originally planned as a three-day physical conference for July 2020, this was rescheduled and re-orientated for online delivery over a day in November 2020 due to the Covid-19 pandemic. A recording of the day is attached to this record. Conference leads: Professor Steve Baker and Professor Angela Bartram.
  • A profound difference: InDialogue Symposium

    Harris, Philip; University of Derby (University of Derby, 2019-11-19)
    Young Europeans studying at the University of Derby were invited to be filmed and speaking of their attitudes towards the outcome of the EU referendum. They were given the choice to speak in their own language or in English. A stipulation was the time duration of sixteen seconds, imposed due to the limitations of the mechanism of the camera for the production of slow-motion footage. Each loop recycles over a period of approximately one minute. The employment of slow-motion transforms the rendering of the act of speaking into a dramatic performance, heightening the awareness of the viewer to the movements of the face, the intonation of words (e.g. as the lips purse to form the Br of Brexit) and the perceived quality of expression as the act of speaking slowly unfolds throughout the duration of the film as sixteen seconds is expanded into sixty. The division of the face into light and dark, the silence of the footage against the mechanical noise of the projector, the cyclical repetition of the footage, allude to the social polarisation caused by this political process and the sense alienation felt by many young Europeans who live, study and work here. The film is presented as an Installation of 16mm cine projectors with films on continuous loops.
  • River-Film: Cine installation

    Harris, Philip; University of Derby (2019-06-26)
    A moving-image installation of the River Derwent using analogue cine film and multiple projectors Installation staged for the Landscapes and Legacy Conference, University of Derby, 26th June 2019. River-Film is a work in progress that explores the qualities of the River Derwent as both an object of nature and a human resource using the medium of cine film. The Derwent has been filmed from its rising at Bleaklow and a number of stages throughout its course culminating with its merging with the River Trent, south of the City of Derby. The physical substance of analogue cine film as opposed to the material remoteness of digital video has been employed and explored for its physical properties: flexible, fluvial and fragile. The films are presented in loops of up to 10 metres using multiple projectors. The installation of River-Film is a highly embodied experience that requires the viewer to negotiate the presence of machinery, loops of film and other viewers, as film footage rotates through each projector in an unrepeatable combination of imagery. As such, the work reflects the diverse topographical environments of the Derwent, the inheritance of a history of industrialisation, and the cycle of natural processes.
  • A profound difference: Installation

    Harris, Philip; University of Derby (FORMAT, 2019-03-15)
    The UK referendum on the decision to leave the EU was a very contentious event. It revealed some very significant divisions in the population of the United Kingdom. Not least was the division between age. Where the majority of young people voted to remain, an older generation largely voted to leave. Consequently, the outcome of the referendum was very much influenced by people for whom a future beyond the borders of the UK was irrelevant. The work uses continental domestic film media from the 1950s, the period during which the foundations for a supranational state of European countries was first being formed. The cine medium acts as the institutional and social structure The images of young people, made using continental domestic cine equipment from the 1950s, are projected onto and inside the wooden panels of polling booths to impose their silent presence on the vehicle The work has been installed using eight 8mm cine projectors, each throwing footage from a loop of film of a young person speaking of their response to the referendum onto the external and internal surfaces of two old-fashioned wooden polling booths. The booths act as a physical manifestation of the act of voting. As the viewer approaches the booths they are confronted with the images of young people, speaking but rendered silent by the medium used to represent them Being a silent medium, their voices cannot be heard.
  • Cumulus: Contemporary Art Working Group

    Jones, Rhiannon; Skiles, Nathan; University of Derby; University of Lapland (Cumulus, 2019-05)
    Dr Jones co-chaired the Cumulus Contemporary Art Working group session, hosted by University of Lapland, Rovaniemi. During this session the research landscape and ambitions of the working group were determined and discussed. Those in attendance were international colleagues from other H.E Art and Design institutions, and members of the Cumulus Network. Led by Dr Jones and with Mr Skiles, from Ringling College, Florida, they facilitated and debated the role of the contemporary art working group. To do this they applied it to the main Cumulus 2019 conference theme of ‘Resilience and Intelligence’ within Contemporary Art practice and research. To facilitate this session, the example of S.H.E.D was provided by Jones as a UK example, of how an artistic research project has created live project briefs, working with interior design students at University of Derby, and works between H.E and cultural and educational partners in order to extend the debate on current issues, practices and research. The working group used S.H.E.D as a provocation to discuss modes of practice and/or research, challenge notions of resilience, role, responsibility, and where ideas or acts of resistance within Contemporary Art can be shared and discussed (publicly), within a globalised frame of reference. S.H.E.D was used to allude to how a mobile design project could act as a research platform for the exchange and generation of knowledge through the invited modes of participation, collaboration, inspiration and mentorship Through which, the ambitions of the wider contemporary art working group was also emphasised and reconsidered, as a discursive and dissemination space for innovative processes in art and design pedagogy and practice.
  • Utran Conversations

    Davies, Huw; Basi, Philip, Ranjit; University of Derby / Artcore (Artcore / University of Derby, 2019-10-18)
    Utran Conversations is a 3-channel, 30-minute, experimental documentary film by Huw Davies and Philip Ranjit Basi, set against the backdrop of the world’s largest kite festival in Gujarat, India. It explores the social and cultural contexts for a huge visual spectacle which marks the transition from winter to summer. The Festival serves to bind together different communities and crosses religious divides. It also provides a complex infrastructure for the employment of thousands of homeworkers engaged in the in the manufacture and distribution of kites and associated apparel. Utran Conversations also comments on the environmental impact, particularly to the local wildlife as the balance of the natural ecosystem is disturbed by the presence of the glass coated threads which are used in the kite flying and fighting rituals, even causing human fatalities. Exploring these themes and issues the film interweaves a multiple series of ‘conversations’ with key players from kite makers to kite flyers and wildlife NGO’s, set around the event of the Utran Festival itself. Utran Conversations was supported by Artcore and DMARC and produced as part of an international artists’ research residency at the Reliance Arts Centre, Baroda in January 2019. It was exhibited as part of the exhibition Otherlings, (Artcore, Derby. October/November 2019) and S.H.E.D at InDialogue Symposium, (Nottingham Contemporary. November 2019). Selected and shown in competition at: Crown Wood International Film Festival (Kolkata, March 2020); New York Indian Film Festival (July/August 2020); Pune Short Film Festival (December 2020); Goa Short Film Festival (December 2020); Lake City International Film Festival (Delhi, December 2020).
  • Myths for a Wetlands Imaginary, HD Film, 9’24’’, 2019

    McCloskey, Paula; Vardy, Sam; Derby University; Sheffield Hallam University (Paula McCloskey, 2020-11-06)
    'Myths for a Wetland Imaginary' 09,24 HD film, at ANTONYM: Life With and Without Animals, Art Core, Derby, UK Myths for a Wetlands Imaginary, digital film, 09.24 a place of their own (artist duo Paula McCloskey and Sam Vardy) present a film made as part of their ‘Myths for a Wetlands Imaginary’*, a project that explores potential of art to create resistant wetland imaginaries as alternate to dominant carbon and capitalist ones. This film was developed through a residency at Walthamstow Wetlands Centre, which included participatory workshops (mapping, stories and myth-making), site-responsive performance walk and multi-media installation. Myths for a Wetlands Imaginary 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, 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. 'Myths for a Wetlands Imaginary' makes visible intimate relationships between personal, local, experiences of wetlands and their planetary dimension. The film articulates something of the complex biological, ecological and political ideas of new multiple relational possibilities. The cumulative activities of Myths for a Wetlands Imaginary of which the film is part start to reveal a ‘global wetlands imaginary’ as an ecological imaginative space for human and more-than-human co-existence, as a metaphor for new forms of multispecies solidarity. The exhibition ANTONYM: Life With and Without Animals presents the work of eight artists from the UK, USA and Iceland. Each makes artwork that engages with the more-than-human world, reflecting on contemporary threats to nonhuman life as well as on the pleasures of our relationships with other species. The exhibition coincides with the online conference Life With and Without Animals at the University of Derby, and both events are organised and curated by Steve Baker and Angela Bartram.
  • Introduction

    Delaire, B.D.; Gotoph, Hefar; University of Derby (Cambridge Scholars, 2020-12-17)
    The introduction to Mythologies, Identities and Territories of Photography: Forever//Now provides a creative turn to conventional introductory chapter writing by using a transcript of an email exchange by two delegates of the conference event on the 15th March 2019. The reciprocal communications of Hefar Gotoph and B.D. Delaire, both academics in the field, chart the period from their invitation to write a co-authored introduction, to the conclusion of their dialogue. The nature of their conversations discuss the arising issues and contexts from the conference itself with more specific references to each contributors paper within the text, which interplays with the emerging social contexts of Brexit and the COVID-19 pandemic over a ten month period. Hefar Gotoph is an independent writer and curator working and residing between the Czech Republic, Slovakia, Lithuania and Ukraine. He has worked for many years for a number of universities in Eastern Europe and specialises in inter-disciplinary research and creative practices that combine still and moving image with performance and improvised music. He is founder and director of the East European Experimental Film Cooperative, and he has written widely for specialist film, photography and performance art journals. B.D. Delaire is a writer, artist, and Professor of the Université du Luxembourg. They have taught both art history and philosophy across prominent institutions in Europe and America. Their work is informed by contemporary debates about art, politics and philosophy, embracing especially continental philosophy from Kant to the present, psychoanalytical theory, binaries of sceptic space and the Marxist intellectual tradition. They have published, amongst others, ‘After Theo Kerg: Mid Century Tactility of Form’ and ‘Herve Keenke, Knowledge and Truss Revisited’.
  • Our Story: A History of the Irish in Derby (promo edit)

    McMahon, Daithí; University of Derby (2019-03-01)
    Our Story is an oral history project that aims to capture the individual stories and experiences of the Irish diaspora here in Derby who emigrated from the 1950s right up to today. The interviews capture the faces and personalities of individuals for posterity while also recording and celebrating the significant contribution the Irish community has made to the Derby area culturally, economically and socially. These interviews are being captured now, particularly with older contributors, so that their stories and personalities can be remembered forever. This project seeks to create an indelible record of the Irish people in Derby so that future generations, including the families of the participants, can always have access to a record of their grandparents, great grandparents etc and that these can also be shared with the wider community. It is a poignant project, especially at a time when we mark the centenary of the armistice and consider the challenges and uncertainty Brexit may bring. This piece offers a timely reminder of the UK’s closest neighbour and the strong ties that exist between Ireland and the UK, which ought not be forgotten. The piece is a teaser video for an ongoing wider oral history research project involving dozens of contributors of all ages. The project is supported by the Derby Irish Association, the Embassy of Ireland, UK and the University of Derby.
  • When The Future Comes

    Locke, Caroline; University of Derby (Nottingham Contemporary, 2018-06-30)
    An afternoon of talks, artworks and a workshop that looked to the future as the environment and climate is changing. Featuring Dr John King, Senior Scientist at the British Antarctic Survey, artists Dr Rachel Jacobs, Caroline Locke, Frank Abbot, Juliet Robson, Wallace Heim, Matt Watkins, Dominic price, Horizon Digital Economy Research (University of Nottingham) and Prof Esther Eidinow, Professor of Ancient History (University of Bristol). The activities explored how we respond to climate change through a combination of art, science, technology and in our every day lives by presenting 'Performing the Future' an artist/research project led by Dr Rachel Jacobs. Caroline presented some of her current research and artistic practice in relation to science and climate change, including her Frequency of Trees, Significant Trees, association with The Woodland Trust and Smoke in the trees experiments with Jacobs and Watkins.
  • Mythologies, Identities and Territories of Photography: Forever//Now

    Marmalade, Gemma; Harris, Philip; University of Derby (Cambridge Scholars, 2020-12-17)
    This book brings together essays by both experienced and emerging researchers, photographic artists, and curators exploring themes such as ethnicity, gender, materiality, the archive, memory, age, national identity, and technologies, with several papers discussing creative responses to the UK’s departure from the European Union. In addition, it includes a paper by Martin Barnes, Senior Curator of Photography at the Victoria and Albert Museum, on the work of industrial photographer, Maurice Broomfield. The book will appeal to students, academics, photographic artists, curators, and those with an interest in art, photography, photographic history and theory. It includes black and white illustrations throughout, alongside a generous selection of colour plates, including portfolios by photographers Craig Easton, for the project SIXTEEN, and the works of industrial photographer Maurice Broomfield.
  • Small Sculpture Show

    Fisher, Craig; University of Derby (Village Green Arts & Music Festival presented by Metal, 2016-07-09)
    Fisher was invited by artist and curator Jonathan Kipps to participate in the, ‘Small Sculpture Show’ exhibition as part of Village Green Arts & Music Festival presented by Metal, Southend-on-Sea. Fisher was interested in the opportunity to present a singular sculpture from the ‘Homemade Device’ series amongst a range of other artists who were also presenting small works as this provided a different context of experiencing this series of works which would ordinarily be viewed as part of a group installation. The artists included in the exhibition were, Craig Fisher, Jonathan Kipps, Laura Keeble, Lauren O’Grady, Lauren Wilson & Teal Griffin The exhibition was curated by Jonathan Kipps
  • Things we didn’t have before

    Fisher, Craig; University of Derby (Pump House Gallery, 2015)
    For the exhibition, ‘things we didn’t have before’, Pump House Gallery transforms into a cabinet of curiosities. Each of the gallery’s floors serve as different compartments, a treasure trove of wondrous artworks and objects that await discovery. Supported by curator Hannah Conroy, local recovery group CDS Wandsworth have selected artworks and objects to form a new public collection that tells the unique and unexpected stories behind objects and their creators or collectors. Each year Pump House Gallery works with a different Wandsworth community-based group for its annual Open Call exhibition, with the aim of providing contemporary art experience, knowledge and practice through the development of a public exhibition. Over 100 arts practitioners and collectors submitted their unusual and intriguing objects and artworks for consideration. Over six sessions, the curatorial group made its final selection of pieces by 20 artists and collectors and determined how to present these within the Pump House Gallery setting. ‘things we didn’t have before’ is an exhibition that presents both a collection of objects and a collection of the stories that accompany them, and how these are read is unique to each gallery visitor. Fisher presented his ongoing series ‘Homemade Devices’ working with the curator to explore and reconsider the methodologies of display and staging for the works by showing the works on a specially constructed shelving unit within one of the central gallery spaces. Included artists; Terry Barber, Tom Buchanan, Maria L. Felixmüller, Craig Fisher, Matt Gee, Paolo Giardi, Greta Hauer, Kevin Hunt, Scott Joseph, Morwenna Lake, Mindy Lee, Sonia Levy, Jammie Nicholas, Marina Rees, Sue Ridge, Cyrus Shroff, Hazel Stone, Julia Zastava, Willow Rowlands, Yoke and Zoom. Fisher was invited by Pump House Gallery to contribute to an in-conversation event, ‘When an object becomes a thing’ on 5 December 2015 alongside artists, Lauren Godfrey, Greta Hauer and curator, Hannah Conroy. Using this ambiguous statement as a starting point, the event aims to delve deeper into conversation instigated by the exhibition itself: the point at which an object transcends its inanimate status and is imbued with significance beyond its immediate visual quality or utilitarian function.
  • Gestures of Resistance

    Fisher, Craig; Wainwright, Jean; University of Derby (University for the Creative Arts, Canterbury Romantso Cultural Centre, Athens, Greece, 2017-04)
    Gestures 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
  • Micro

    Fisher, Craig; University of Derby (AIR Gallery, Altrincham, 2019)
    Fisher 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.
  • A Profound Difference: Departure Lounge

    Harris, Philip; University of Derby (Departure Lounge, 2019-07-20)
    The UK referendum on the decision to leave the EU was, and is, a very contentious event. It revealed some very significant divisions in the population. Not least was the division between age. Where the majority of young people voted to remain, an older generation largely voted to leave. Consequently, the outcome of the referendum was very much influenced by people for whom a future beyond the borders of the UK was irrelevant. The work uses continental domestic film media from the 1950s, the period during which the foundations for a supranational state of European countries was first being formed. The images of young people, made using continental domestic cine equipment from the 1950s, are projected onto and inside the wooden panels of polling booths. Two 8mm cine cameras, one facing and one to the side of the subject, were used to film young people from the UK, speaking of their responses to the referendum. Being a silent medium, their voices cannot be heard.
  • Ngland: Exposure Festival

    Harris, Philip; University of Derby (Exposure Festival, 2020-02-03)
    This short film is a companion work to A Profound Difference and presents a visual meditation on the political events and social environment that arose due to the UK Referendum on EU Membership. The film was made with a clockwork 16mm camera, centred on an England flag, flown in the garden of a suburban house in the Midlands, England. The film consists of an entire reel of 16mm cine film, with no cuts or edits. The film was made with the camera in a fixed position with a change in the frame rate to suggest a sense of misplaced elegance in the slow-motion footage, against erratic action and confusion in the fast motion sections as the flag becomes tangled on the pole that supports it. The legend “ENGLAND” never quite reveals itself in full, with the “E” remaining partially concealed throughout. The film has been hand-processed and is presented with all the faults, glitches and mistakes as evidence of the physicality of film. The work was exhibited in two parts for Exposure Festival 2020, Calgary. A large-scale sequence of scanned sections of film was exhibited at 621 Gallery, University of Calgary. A digital transfer of the film was exhibited at Calgary Contemporary. Where the projected film presents the flag though the cinematic illusion of time and space, the scanned segments decompose the film into discreet fragments. The behaviour of the flag, with the faults, marks and scratches that occurred through hand processing the film, act as metaphors for the impact of this political process on the social fabric of the country. The work was supported by a public presentation at Calgary Contemporary, 3rd February, where I explored the use of analogue media for exploring issues of politics. The presentation provided the foundation for the published paper.
  • FORMAT19: FOREVER//NOW

    Harris, Philip; Marmalade, Gemma; University of Derby (FORMAT, 2019-03-15)
    The conference for FORMAT19, 15th March 2019, was hosted by University of Derby and the Digital and Material Artistic Centre. In place of the single stream events that had taken place in previous years, the organisers arranged three parallel streams with over 30 contributors, many from outside the UK, and 200 delegates. This dramatic upscale in ambition produced the largest scale FORMAT conference in the history of the University of Derby. The selection of papers and presentations drew upon an open call by the organisers with the inclusion of selected participants in the FORMAT19 festival with rigorous review by both editors. The overall form and structure of the conference was developed, managed, and realised by the editors with a schedule of three streams titled in relation to the evocative theme of the festival, Forever//Now, as follows: 1. Myths, narratives and histories 2. Archiving the future 3. Territory, identity and memory Specific contributions by academics from the University of Derby/D-MARC: • Marc Bosward provided a critical examination of digital montage as a means to visually negotiate issues of politics and history. • Gemma Marmalade’s (ed.) paper presented her performed intervention on the delivery of her paper for the project Green Fingered. • Philip Harris (ed.) presented a philosophical examination of obsolete media and its potential to examine issues of politics and social concerns. • Alys Russell provided a critical examination of domestic photography and its relationship with locative memory. • Dominic Chapman’s paper examined the collective mythologies and visual tropes employed by the Leave Campaign in the UK Referendum to leave the EU, 2016. • Mark Hall presented a critical examination of the Stephen Shore’s work American Surfaces. • Stephanie Rushton discussed the philosophical context for her project The Archaea, centred around ecology and intelligence in nature. The conference, in its drastically enlarged scale and scope, provided a highly valuable source of new knowledge across a highly diverse range of ideas, themes and issues, representing the diverse range of practices and themes in contemporary research on photography.

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