• Treasuring detritus: Reflections on the wreckage left behind by artistic research

      Pinchbeck, Michael; Jones, Rhiannon; University of Derby; University of Lincoln (Taylor & Francis, 2019-11-21)
      In 2006, Rhiannon Jones and Michael Pinchbeck exhibited fragments from their ongoing practice as research as part of an exhibition at the Surface Gallery (Nottingham). Pinchbeck showed 365 objects wrapped in brown paper and string from a project called The Long and Winding Road that involved driving a car around the country for five years as a venue for one-to-one performance (the car was later immersed in the River Mersey and then crushed before being discarded in Michael Landy’s Art Bin). Jones was showing a video called Archived Actualities that re-traced the routes of 1000 scar stories; accidents shared with her by members of the public. Jones suggests that scars are innately performative through a collision of dialogic triangulation that takes place between the rupturing of skin, the process of scarification and the architectural shifts to sites of accident. This five-year project resulted in a solo exhibition in the UK and the USA where scar story objects were collected and displayed in a gallery context, donated by people who had contributed to the archive, as their stories were retold through a series of live performance works. As part of Pinchbeck’s project, the 365 objects were belongings left behind by his brother, who died in an accident in 1998. The piece explored the invisible scars left behind by grief and the literal baggage that makes manifest loss. The objects that were wrapped up lost their emotional charge until they were revealed again during the crushing of the car at the end of the journey, the emotional wreckage becoming literal, memories mangled like the car that housed his brother’s story. For this article, both writers reflect on the detritus of their practice as research, and how in some way, Pinchbeck’s car and Jones’ scar archive ‘stage the wreckage’ of the events that triggered them. The article explores traces that are embedded into our public presentation of self and other, and are objectified through the act of conversation, in order to ask if objects can carry scars like people carry memories. The article asks what remains after physical and emotional wreckage and proposes that instead of seeing this as sediment of loss we should treasure the detritus. Jones still has the objects donated to her archive that embody the stories she was told. Pinchbeck no longer has the 365 objects his brother left behind or the car that carried them on their journey.
    • This is Derby: dialogic activism

      Jones, Rhiannon; Craig, Tom; Manning-Jones, Alix; Barth, Caroline; Turner, Will; University of Derby; Derby Theatre; Derby County Community Trust (Arts in Society, 2019-06)
      This paper explores the artistic research project "This is Derby" undertaken by University of Derby, Derby County Community Trust and Derby Theatre; the only Learning Theatre in the UK. The project engaged targeted participants living within identified areas of deprivation from the city of Derby. The research aimed to design a dialogic methodology using a "grass roots" approach to provide young people with free art activities. Examples will be provided in the paper of how the research was undertaken, what and how key barriers were identified by both schools and parents; including the lack of cultural integration outside of school time in the UK and the impact of lacks in financial or family support. The paper shares models of best practice whilst highlight the value of having undertaking an artistic and dialogic methodology. The impact of the project is extensively noted within UK contemporary social contexts and as a result of the findings, 9 community hubs and a virtual hub were created. This is Derby was a collaborative research project that has provided essential life skills for young persons in socio economically deprived areas of Derby, resulting in social mobility and new access to the arts. This paper disseminates both the design and impact of the research proposing that dialogic methodologies are an instigator for change in order to enable and empower younger persons. This is Derby has produced dialogic methodology that has actively contributed to the future cultural offering in the city of Derby and impacts on art research.
    • Border field/apparatuses.

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (Field conditions., 2019-01)
      Through both our trans-disciplinary practice and one specific project based in and across the Irish border with the UK, we discover, occupy and create (alternate) field conditions of various kinds. Our practice,a place of their own,draws together different bodies of knowledge, experience and practice; art, architecture, urbanism, philosophy, fictioning, family to create new imaginaries and cartographies of the border. The Eile Project is a visual art/research project that uses the subjective, spatial and political concept of borders/bordering to respond to some immediate political/environmental challenges, and is sited on the geo-political border between Ireland and the UK. Paula is from Ballyshannon, grew up between Ballyshannon and Enniskillen (as well in England), and has traversed the Irish border across her life. This border condition has renewed prominence within the maligned ‘Brexit’ negotiations. Border field conditions are densely woven with multiple infrastructures, policies, practices and rituals that interconnect in complex configurations; infrastructural systems such as the long- disused Ulster Canal, and the daily practices of local farmers negotiate the border through dynamic interplays of formal procedure and autonomous, creative and resistant practices. The border field condition is partly determined by various technologies and spaces of security and control; of the monitoring and restricting of movement and of various bodies. Yet it is also the site of many existing and potential spatial, social and relational re-imaginings. We will consider the border field conditions as explored through the Eile Project, and specifically discuss the potentialities of these field configurations through the notion of territorial-apparatuses, which might become the starting point for alternative forms of spatial practice. "When apparatuses shift, they can change history across spacetime (quantum erasure). Apparatuses are not only what has been traditionally understood as the mechanical parts of a system of measurement (Barad, 1998, p. 101-2). They include systems of thinking, objects, spatio-temporal properties, people and more-than-people; they are extremely localized. Apparatuses are phenomena."1 The field conditions (both mapped and created) through the Eile Project are therefore those that, by opening to and involving the earth, human and non-human actors, the organic and in- organic, permit new cartographies, territories and modes of collective practice. 1 Whitney Stark, “Assembled BodiesReconfiguring Quantum Identities,” The Minnesota Review 2017, no. 88 (May 1, 2017): 69–82, https://doi.org/10.1215/00265667-3787402.
    • Exploring new voices in applied theatre.

      Jones, Rhiannon; Connelly, Heather; University of Derby (2019-01)
      Exploring New Voices: Future Practice in Applied Theatre Conference. Extend and refresh your practice among a creative community of theatre-makers, academics and world-class practitioners. We’ll be asking questions, addressing challenges, and sharing ideas as we explore how Applied Theatre can bring ‘New Voices’ into our work and revolutionise the way we co-create with diverse communities. Teachers, academics, students, and theatre-makers will all find new ways of developing and exploring their practice. You will exchange invaluable insights with practitioners working in a variety of fields within Applied Theatre, and participate in workshops led by the nation’s leading Applied Theatre specialists, each of whom will guide participants on a different area of practice under the umbrella concept of shared agency with communities. As part of the event InDialogue, (2019) Dr Rhiannon Jones (University of Derby) and Dr Heather Connelly (University of Lincoln) - Co Founders of InDialogue presented their artistic research & collaboration which focuses on the use of dialogue to generate practice across all creative disciplines. They also announced the call for participation for InDialogue 2019; the international symposium hosted by Derby Theatre.
    • Steve Baker: Fieldwork

      Baker, Steve; University of Derby (University of Sheffield, 2019)
    • Family Entanglements

      McCloskey, Paula; Vardy, Sam; University of Derby (2018-11-02)
      ‘Family Entanglements’: As the collaborative arts practice ‘a place of their own’ we were invited to deliver a performance 'Lab' at the Social Art Summit – an Artists-led 2-day conference Sheffield, 1, 2 November 2018. For this Art Council funded conference, over two-days artists from around the country, as well as international speakers came together to share practice, showcase work and explore what it means to be making art through social engagement right now. As one of 8 ‘labs’ we ran a session called ‘Family Entanglements’, the invitation for participants read as follows: ‘As a reflection of their own family practice they will facilitate collective activities based around string games and Cat's Cradle, whereby delegates will explore critical themes including: Radicality in the family and your practice; home as a site of arts practice; maternity as practice; alternative futures, new intergenerational relations and making different forms of kinship. The lab sought explore the research questions of ‘how living with and raising children might offer ways to think about alternative futures in the face of economic, social and environmental crisis? and how the 'family' might be a site of resistance to dominant ideologies?’
    • Emilie Taylor's beating the bounds: a citical essay.

      McCloskey, Paula; University of Derby (Bosse and Baum Gallery., 2018-11)
      A critical essay of Emilie Taylor's 'Beating the Bounds' exhibition exploring materiality and maternity.
    • The archaea: painting digital photography.

      Rushton, Stephanie; University of Derby (Cambridge Scholars Publishing., 2018-09-01)
      How does one make a photographic body of work about Deep Ecology; the philosophy that considers humans to be equal to and no more important than any other species, advocating a radical re-adjustment of the relationship between humans and nature? This was the question I asked myself when I began a photographic project in 2014 entitled The Archaea. My interest stems from exploring the ecological relationship between humanity and the earth, and there are many sub-fields of psychology emerging to study these effects, such as eco-psychology or conservation psychology.
    • Fragile cartographies of border fictioning: a place of their own.

      McCloskey, Paula; Vardy, Sam; University of Derby (2018-09)
      Our work operates between contemporary art and spatial practice and we explore the new forms of research and critical production that this space and overlap allows. The Eile Project is a visual art / research project that uses the subjective, spatial, political and imaginative concept of borders/bordering to respond to some immediate political/environmental challenges. The project is sited on the geo-political border between Ireland and the UK; we are a border family as Paula is from Ballyshannon, (Eire). She grew up between Ballyshannon and Enniskillen (NI), as well as living in England, and has traversed the Irish border her whole life. We now return to these places from Sheffield, UK with our own children, each year; the border thus remains at play across generations, time, and space. The context of the Irish/UK border condition is now given renewed prominence within the maligned ‘Brexit’ negotiations which threatens the peace process on the island of Ireland. We propose to show a screening of our audiovisual film, The Territories of Eile, which offers a speculative fictioning in which Eile makes and unmakes the borderlands; passing through them as they pass through her. Eile’s embodied performance gestures utilise organic and inorganic materials on the Irish/UK border territory to distort and create alternate ways of being. The Eile Project offers an interrogation that uses human-bodies and non-human bodies to create a world beyond the present, collapsing durational moments to create a fiction that might impact transformatively on the real. After the screening (4 mins) we would present a short paper discussing the ideas behind the film and their relation to the urban question. We are concerned with understanding how autonomous territories are made, undone, and remade anew - territories as spatial, sonic and social processes in which power, rather than being fixed and imposed as in sovereign borders (power as potestas), can emerge from the site, from the new border imaginaries, in a process of becoming - power as potentia.
    • Audiovisual border fictioning (of the body & territory): the Eile project, AV body conference, Huddersfield University.

      McCloskey, Paula; Vardy, Sam; university of Derby; Sheffield Hallam University (2018-06-12)
      The presentation Audiovisual Border Fictioning (of the body & territory) film and talk about The Eile Project (an investigation of borders using art research methods.) was presented AVBODY body conference in June 2018. The AVBODY body symposium "brings together practitioner-researchers working with digital media, dance tech, screendance, screen studies, experimental performance, performer training, visual anthropology, and other fields to examine relations between audiovisuality and embodiment in the contemporary moment." This international conference allowed us to present The Eile Project to a wide artist, research audience. We gave a presentation and showed the Eile film Territories of Eile. The presentation and film are attached/link.
    • A place of their own.

      McCloskey, Paula; University of Derby (Spirit Duplicator., 2018-06)
      This chapter critically explores the research practice of collaborative art and spatial research practice 'a place of their own', which was co-founded by Paula McCloskey and Sam Vardy and their four children. The whole 'Multivoices in research' book features researchers working across art, architecture, ethnography and creative writing discussing how multiple voices are activated and hosted in their work. Edited by Jon Orlek and designed by Jon Cannon, each copy is unique and contains a performance by Vulpes Vulpes.
    • Guest talk: Be your dog.

      Bartram, Angela; University of Derby (Live Art Development Agency, 2018-05-16)
      Shaun Caton’s Prancing Poodles and Preposterous Pugs is a visual tour through some of his extraordinary collection of vintage and historic photographs, and an illustrated talk exploring the animal as performer for the camera, live audience, and the collective creative imagination. Looking at bizarre photographs of animals both dead and alive, Shaun will evince their forgotten stories and pinpoint the human relationships within a performance context. Jack Tan’s Four Legs Good is a live revival of the medieval animal trials, where animals who had committed some offence were charged in court, prosecuted and defended by barristers, and sentenced in full hearings before a judge. In advance of the first sitting of the Animal Court at Compass Festival 2018 in Leeds, Jack will give a presentation about the Animal Court and offer advice to all dogs present who may have fallen foul of the law on how to bring or defend a case. Angela Bartram’s Be Your Dog explores relationships beyond the hierarchies of pet and owner in response to Donna Haraway’s concept that two companions are necessary for a functional co-species co-habitation. The project saw participants and their dogs attend workshops to learn how to establish empathy, equality and connection, and strategies for dog and human to be equals with each other and to test if it is possible to establish a non-hierarchical pack. She will talk about Be Your Dog and her other work with animals including the significance of dog/human cohabitation at the end of life, using dog walking as a way to engage community, and giving access to animal theory to animals themselves. Artist and researcher Sibylle Peters will facilitate conversations.
    • Documents, alternatives - a symposium of artistic process and practice.

      Bartram, Angela; University of Derby (2018-04-20)
      The documentation of ephemeral artwork, works made to be transient, changeable and un-fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority. ‘Documents, Alternatives (#3)’ is an exhibition that includes time-based works that rely on performative process and created experience, which aims to resolve this issue by making the document and artwork reflexive. In doing this it acknowledges their need for change so that they remain continuous and in process through staging a practical and thought provoking visual discussion. The symposium accompanies this exhibition at BSAD, and acts in response to process with artistic practice and the experience of the artwork. It situates a series of opportunities for the experience of process through a structure of colloquialism adjacent to the exhibition, to open the nature of artistic process to critical debate. To enable a dialogue about process (as that exhibited and that discussed) informed by both academic and creative domains, symposium speakers are the artists with work in the accompanying exhibition. Hosted by the Art Research Centre, Bath School of Art and Design BSAD Gallery and BSAD main Lecture theatre. The symposium is staged simultaneously with the exhibition Documents, Alternatives (#3) at BSAD gallery, which is open to the public 20th April – 1st May 2018. The exhibition and symposium are part of the Alternative Document, a project by Dr. Angela Bartram, Associate Professor and Head of Arts Research, at University of Derby.
    • Revisiting the retrospective of the work of Jordan McKenzie.

      Bartram, Angela; University of Derby (2018-04-20)
      The act of art retrospective, specifically that placed within a museum or gallery, is to reflect on, and give knowledge of something past. A retroactive overview of a person’s artistic practice, the retrospective exhibition is backwards facing rather than future focused. As an act that normally specifies finiteness and conclusion a living artist’s retrospective produces an anomaly as a consequence. In 2016 I simultaneously staged the Alternative Document symposium and exhibition. This included Retrospective 2027 by Jordan McKenzie, a living artist, as a keynote performance in the symposium. Positioned as a keynote in the symposium rather than the exhibition it not only offered the retrospective as a representation of the artworks of the living, but also challenged traditional formats of structural placement. Situated within colloquialism rather than exhibition, the aim was to set it adrift from the gallery and the predominantly visual to open it to critical debate. This paper analyses an approach to retrospective that differs from the conventional, as one that is performed, gestural and event-based rather than static and exhibited in a gallery and includes my critical conversation with the artist. It asks what this means for the artwork, the documentary in performance and ephemeral practice, the archive, the exhibition and retrospective in McKenzie’s work. Presented in Documents, Alternatives: a symposium of artistic process and practice, BSAD (Bath), 20 April 2018. The symposium is staged simultaneously with the exhibition Documents, Alternatives (#3) at BSAD gallery, which is open to the public 20th April – 1st May 2018. The exhibition and symposium are part of the Alternative Document, a project by Dr. Angela Bartram, Associate Professor and Head of Arts Research, at University of Derby.
    • The Eile project experiment 5

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2018-04)
      The Eile Project is an ongoing investigation of borders using art research methods. The research aims to investigate border subjectivities, border-linking/making; territorial fictioning, based in, across, and about the geopolitical border between Ireland and the UK. It uses multimedia visual art research that uses the subjective, spatial, political and imaginative, yet highly contested, concept of borders/bordering to respond to some of the immediate political and environmental challenges of our time. The Eile Project takes places on the contested UK border which crosses the island of Ireland dividing the land into the Republic of Ireland and Northern Ireland. The investigation seeks to generate new ways of thinking of this border through the creation a new aesthetics generated mainly through site-specific performance acts by the character ‘Eile’. Through performative gestures using a range of materials Eile intervenes into this geopolitical border scene to develop a border-fictioning. ‘Eile’ is a creature of the border who has been summoned to interact with buildings, different species, the bogs, rivers, flora and fauna, caves, mountains and so on against the unfolding socio-political drama of this border, which at present takes the form of ‘Brexit’ (but previously has had many other iterations, such as ‘The Troubles’). This work has its roots in Paula’s family history. Paula’s family are from Ballyshannon, County Donegal, a small border town in the Republic of Ireland. Her mother was brought up in an Irish Protestant family and her father as Irish Catholic. Paula was born in 1975 at the height of the so-called ‘Troubles’ and during her childhood lived in England, Northern Ireland and the Republic of Ireland, regularly traversing the border. This brings a particular ‘situated knowledge’ (knowing as partial and located, and generated through interactions, Donna Haraway) to this border research practice, which is used in when Paula performs ‘Eile’ on the border-sites. This relates to experiment 5 which took place on the border site of Slieve Rushen. Slieve Rushen is a mountain which traverses the border between County Cavan in the Republic of Ireland and County Fermanagh in Northern Ireland. The mountain is made up of grey limestone with a cap of sandstone and shales and is extensively quarried by local companies. The bog surface is mostly covered with peat, pine forests and grazing fields. The mountain contains several caves and swallow-holes including Pollnagollum (Slieve Rushen) and Tory Hole. More recently it has become home to Slieve Rushen Wind Farm and is a protected area of the National Park.
    • Brain activity and mental workload associated with artistic practice.

      Locke, Caroline; Swann, Debra; Wilson, Max; Maior, Horia; University of Derby; Nottingham Trent University (Conference on Human Factors in Computing Systems, 2018-02-09)
      We present the first stage of our on-going artist-driven BCI collaboration, where we equipped an artist with the brain scanning technique functional Near Infrared Spectroscopy (fNIRS) in order to record mental workload levels during her creative practice. We artists are interested in exposing the hidden cognitive processes involved in our creative practice, in order to reuse or integrate the data into our performances. The computer science researchers are interested in collecting unstructured ‘in the wild’ fNIRS data, and to see how the artists interpret the data retrospectively. We highlight some interesting early examples from the data and describe our on-going plans. We will have completed a second data collection before the workshop.
    • To get there: designing together.

      Jones, Rhiannon; Nottingham Trent University (2018)
      Cumulus is the only global association to serve education and research in its disciplines. It is a forum for partnership, friendship and transfer of knowledge and best practices. Cumulus provides its members and partners a wide, flexible, dynamic and diversified friendly forum of exchange, cooperation and innovation. Cumulus promotes and empowers the talent of the next generation of creative and responsible people. Cumulus builds and maintains a dynamic forum bringing together top-level educational institutions from all parts of the world. The cultural diversity of a variety of nations is a source for synergy and excellence. Cumulus was founded in 1990 consisting currently of 257 members from 55 countries and being able to reach a minimum of 755.000 students and thousands of academics, staff and other audience. Cumulus is endorsed by UNESCO. FOR THE CONTEMPORARY ART WORKING GROUP. Border Crossings: Pilgrimage to Paris. Contemporary artists and designers cross borders collaborate on innovative and ask challenging questions about how artists and designers challenge the integrity of boundaries. The Contemporary Art Working Group theme in 2018 addressed the topics of identity, appropriation, collaboration, and hybridity as they pertain to relevant issues in contemporary art and design. Dr Rhiannon Jones presented the paper Design without Walls. The central research question being raised was how can art and design theory and practice work across boards. Providing examples of how artistic research and art and design teaching have achieve this and challenge it within an international context. BECAUSE WE BELIEVE THAT TOMORROW THE VARIOUS APPROACHES TO DESIGN RESEARCH SHOULD FOLLOW A COMMON PATH, WE AIM TO STIMULATE COLLABORATIVE PRACTICES TO LET INNOVATION AND UNPREDICTABILITY BREAK FREE. WE AIM TO GET AN OUTLOOK ON THE FUTURE, TO GET IDEAS WE WOULD NEVER HAVE HAD ALONE. TO GET SOMEWHERE NEW, ALL OF US. TO GET THERE, DESIGNING TOGETHER.
    • Nightbreed - the cabal cut

      Cherrington, Russell; University of Derby (Seraphim Films / Morgan Creek Films, 2017-12-01)
      Nightbreed is a 1990 Fantasy/Horror Film created by Polymath Clive Barker. In 2012 Russell Cherrington with the aid of Jimmi Johnson took all the available film elements, work prints, original cinema release and the 2nd draft script. The question was can the film be recreated and would it have an impact and a meaning in 2012. The finished film was screened at over 50 Film Festivals around the world from 2013 to 2015. It led to the Occupy Midian movement with over 10,000 follwers on Twitter, Facebook and the Internet. The film was restored into a Directors Cut in 2015 and finally in 2017 the Cabal Cut was released on Blu Ray.
    • Something’s gone wrong again

      Baker, Steve; University of Derby (Giovanni Aloi, 2017-11)