• 100 years of Bollywood part 1 & 2: queens of melody.

      Basi, Philip Ranjit; University Of Derby (BBC Red Button., 2014-01)
      BBC Asian Network curated a season of Bollywood-related content to mark the 100th Anniversary of the Indian Film Industry with an exciting offering of star interviews, Red Button specials and major BBC collaborations focused at providing a lasting legacy of this important anniversary. As the producer director of Asian Network’s successful Red Button TV offering I was tasked bringing the rich heritage of the Indian film industry to life through BBC archive and reflecting the work of community organisations right across the UK celebrating the wonder of Bollywood. Celebrating 100 years of Indian Cinema with the biggest stars who have featured on the BBC since the 70's. BBC Asian Network charted the journey of how Bollywood became the largest film industry in the world from the first ever film in shown in 1913. This special programme, featured interviews from Bollywood’s leading stars over the decades from legends including Rajesh Khanna, Raj Kapoor and Dilip Kumar right through to recent times where actors such as Shah Rukh Khan, Madhuri Dixit, Sri Devi, Anil Kapoor and Salman Khan took the industry global. This special programme was available on the Red Button and featured interviews from Bollywood's leading stars over the decades and had an audience of 850,00. Part 2 featured films start that had been performed and been on the BBC Asian Network and had special features from the Indian Film Awards and Bollywood Carmen, this show had an audience of 650,00. Queens Of Melody – The BBC Philharmonic and Asian Network collaborated for the first time ever in a celebration of the life and songs of Pakistani singer Noor Jehan and other legendary singers. International artists Shazia Manzoor and Qurat-ul-ain Balouch perform alongside the BBC Philharmonic in Bradford in front of a live audience for this unique event.
    • 13

      Lane, Kit; University of Derby (2014-05)
      A variety of source material was used including original photographic and video images, computer generated imagery and Creative Commons licensed images. A lack of suitable rigging positions for projectors was overcome by utilising a single projector and a projection mapping system in place of three projectors.
    • 3-D Sound: Massive and minute

      Lennox, Peter; University of Derby (2006-06)
      A Technical, perceptual and aesthetic exploration of cellular "multi-scale" artificial auditory environments
    • 32 significant moments: An artist's practice as research.

      Watts, Lisa; University of Derby ([Self-published], 01/03/2014)
      The booklet is 23,000 words and is structured with an introduction and the SASs are shown as charts on several pages. Then the main body of the book is in thirty two sections. Each section starts at on a fresh page and can involve a quote from the studio, photographs, text that explains the moment and on twelve occasions an in-depth essay into the moment captured. The book is written in a creative fun manner.
    • 3D audio as an information-environment: manipulating perceptual significance for differntiation and pre-selection

      Lennox, Peter; Vaughan, John; Myatt, Tony; University of York (Laboratory of Acoustics and audio signal processing and the Telecommunications Software and Multimedia Laboratory, Helsinki University of Technology, 29/08/2001)
      Contemporary use of sound as artificial information display is rudimentary, with little 'depth of significance' to facilitate users' selective attention. We believe that this is due to conceptual neglect of 'context' or perceptual background information. This paper describes a systematic approach to developing 3D audio information environments that utilise known cognitive characteristics, in order to promote rapidity and ease of use. The key concepts are perceptual space, perceptual significance, ambience labelling information and cartoonification.
    • 3D EDM (Electronic Dance Music)

      Vandemast-Bell, Paul; University of Derby (2016)
      This presentation discusses my work with Sonic Emotion’s Wave Field Synthesis system - Wave 1. I have spacialized a pre-recorded EDM performance (consisting of 4 stereo tracks) to investigate how my stereo work translates to 3D and the potential uses of 3D sound within a club environment.
    • Acromegaly, Mr Punch and caricature.

      Bryson, David; University of Derby (1996-09)
      The origin of Mr Punch from the Italian Pulcinella of the Commedia dell'arte is well known but his feature, large hooked nose, protruding chin, kyphosis and sternal protrusion all in an exaggerated form also suggest the caricature of an acromegalic. This paper looks at the physical characteristics of acromegaly, the origin of Mr Punch and the development of caricature linking them together in the acromegalic caricature that now has a life of its own.
    • Across the decades (60 years).

      Basi, Philip Ranjit; University Of Derby (2016-08)
      2015 was the 60th year that the Derby West Indian Community Association (DWICA) has been delivering services to the Black and Culturally Diverse Community. DWICA acknowledged that the “DIAMOND” anniversary this was a milestone that should be celebrated. Through a funding application process DWICA successfully secured project financial resources from Heritage Lottery Fund to deliver a project called “Across the Decades” which showcased the achievements made by DWICA over the past sixty (60) years. This project was the foundation for the organisation to collated and document it’s’ legacy detailing the contributions made by the pioneering African Caribbean community coming to the city Derby, in the main from the Caribbean. In addition document the following (2nd & 3rd) generation’s contribution towards community development in Derby.
    • Acting alone

      Hunt, Ava; Branson, Tilly; University of Derby (2016)
      Acting Alone was written and performed by Ava Hunt with dramaturgy and direction by Tilly Branson. This creative and artistic research used autobiographical solo performance explored social/political engagement through the creation and structure of the performer/audience relationship. The piece used autobiographical, verbatim and documentary theatre approaches demonstrating the complexities of being an artist making applied theatre. The piece enquired into the risks of taking direct action or experiencing the fear and humiliation of inaction. Retelling Hunt’s experience in a refugee camp watching a piece of Playback Theatre performed by Palestinian theatre company – The Freedom Theatre, this witnessed event was returned to throughout against other intertwining narratives: presenting historical/heroic characters (Irena Sendler and Rachel Corrie) who took direct action, together with verbatim accounts of people that Hunt met in Israel and Palestine e.g. an outspoken UN Lawyer, a young Israeli soldier from Birmingham. The piece also contains four simple folk tales that are told to help to illustrate the historical and political complexities of the Israeli/Palestinian conflict in an accessible form. Primarily, the piece explores human rights issues from a by-stander/international perspective by weaving participation throughout into a performance provocation, a space in which the audience were invited to cross the dramaturgical divide and engage in the Israeli/Palestinian conflict posing the question - can one person make a difference? Originally commissioned by Amnesty International Wirksworth, this applied theatre practice: Acting Alone toured throughout the UK and internationally performing to a thousand people in different communities, countries and contexts including the Edinburgh Fringe Festival as part of the Just Festival at St Johns Church, where it received critical reviews including: Five Stars from TV Bomb 2016: “Acting Alone .. ingeniously goes against audiences’ expectations regarding both the theatre art-form itself and the handling of the overly yet ineffectively debated topic of the sufferings of Palestinians.” Audiences engaged positively in the discourse created by this artistic research although for some the Israeli/Palestinian conflict is highly controversial and accusations of the piece being unbalanced were received, and the authenticity of the material questioned. Branson and Hunt responded to audience feedback where appropriate recognising that autobiographical and verbatim theatre offers alternative narratives offering audiences insight into Palestinian people’s experiences that are not widely reported. However, when critical reviews such as British Theatre Guide 2016 - Keith Mckenna said “….a thoughtful play given an engaging performance by Ava Hunt…..Theatre can help ensure that those suffering injustice are not isolated. The solidarity of those inside Palestine and those beyond make sure that those wanting change are not acting alone.” The tour enabled valuable primary data to be collected to support the research question creating discourse for audiences to enquire into the by-stander role as part of an international community.
    • Acting alone

      Hunt, Ava; Branson, Tilly; Scott, Ivan; University of Derby (2016)
      Acting Alone is a practice-as-research solo performance (ACE funded; Amnesty International Derbyshire commission) which toured nationally/ internationally during (2014-2016). An autobiographical provocation inspired by the Israeli/Palestinian conflict based on Hunt’s experience of witnessing Playback theatre in the West Bank. The performance presented this human rights conflict to international audiences asking - can one person make a difference? Historical characters, who acted heroically, against the unheroic acts of Hunt in Palestine where woven throughout. This immersive piece created a strong performer/audience relationship which created powerful moments, during the performance, of audience participation e.g. joining in, helping, with small tasks contributing to the storytelling, leading to the final transformative moment when the audience would be invited to complete the show by crossing the dramaturgical divide. Acting Alone performed to multi-faith communities, studio theatres, non-theatre venues, schools, and at the Just Festival Edinburgh Fringe (receiving 5 star reviews) . The artistic and creative design of Acting Alone was inspired by Boal’s Forum Theatre, where audiences, as Spect-actors, are invited to rehearse a revolutionary act challenging their oppression, however, Acting Alone explored the role of the by-stander or the tritagonist. The tritagonist position is neither protagonist nor antagonist but opens up the third role exploring the agency of the international community. Performances and papers were presented and performed at academic conferences in UK, Ireland, New Zealand, USA and Sweden where Dr Rand (Massey University New Zealand) presented a paper to the IFTR conference inspired by the production entitled: Re-Enacting Palestine and the Performance of Credibility. Detailed responses from audiences (over one thousand) demonstrated discourse, political activism as well as controversial commentary including accusations of falsification and anti-Semitism. Enquiry into the by-stander or tritagonist role through audience/performer immersion, highlighted this new area of knowledge and practice which will be developed in Hunt’s forthcoming PhD.
    • Acting Alone - Can one person make a difference?

      Hunt, Ava; Tilly Branson; Ivan Stott; University of Derby; Andy Purves (2015-11)
      Acting Alone is artistic research using solo performance, autobiographical, verbatim and documentary theatricals. Exploring the Israeli/Palestinian conflict through interwoven stories, the piece asks questions of the audience: Can one person actually make a difference? In 2014 Amnesty International (Derbyshire) commissioned Ava Hunt to create a provocation in response to the renewed confliction and humanitarian crises in Gaza. In its exploration of the complex situation faced by those living in Palestine, Acting Alone challenged the theatrical conventions most often experienced by audiences. Using immersive and participatory invitations, the piece encouraged the audience to interact and to cross the dramaturgical divide creating an ending where no-one, including the performer, knows the resolution. This artistic research builds on Hunt’s enquiry and work with artists and educators working in the West Bank, where she worked with children at the Aida Refugee Camp with Dr. Abedelfattah Absourer whose belief and commitment in the use of the arts in the community is to inspire ‘the beautiful resistance’. The performance offered a creative response to this ongoing war, oppression and abuse of human rights opening up a discourse of what is our responsibility and what action is possible from an international community perspective – a performative of hope.
    • An action repeated: a conference paper delivered for the Format International Photography Festival Film & Photography Conference 2015

      Shore, Tim; University of Derby (2015-04)
      An action repeated by thousands of hands, thousands of times at the pace established for each shift. (Cities & Signs:5, Invisible Cities, Italio Calvino). The presentation is about my research made in developing a commission (New Expressions, Visual Arts Network) to make an artwork in collaboration with a museum. The work will explore the meaning and experience of the working day for the mill workers of the early textile mills.
    • Adding variety to your learning activities.

      Bryson, David; University of Derby (2010-06-16)
    • Addressing the needs of the other 90% - the role of cycling in developing the sustainable agenda in Johannesburg

      Di Monte-Milner, Giovanna; Breytenbach, Amanda; University of Johannesburg (The Greenside Design Centre, University of Johannesburg (CUMULUS), 2014)
      Cycling is an energy efficient nonpolluting form of transport and is considered as one of the most sustainable means of transport. In South Africa cycling has been poorly recognized and supported by government and citizens as a sustainable mode of transport. However, drastic changes are proposed for the transport systems in the City of Johannesburg (also Joburg) and citizens are showing a growing interest in cycling for both recreation and commuting purposes. This paper investigates the changing cycling culture in Johannesburg and the extent to which cycling is recognized by government and included in the development of a sustainability agenda that addresses the socio-economic needs of Johannesburg citizens. National cycling projects, cycling associations and cycling events such as the monthly Johannesburg Critical Bike Mass Ride events are briefly described and used as reference points to illustrate the growing interest expressed by non-profit organizations and citizens to accommodate cyclists on public roads. This investigation aims to make a contribution to the sustainable design project through reflecting on a drastic proposed change for Johannesburg city transport which will impact on various design disciplines that can provide specialist knowledge in the development of a sustainable transport system. This paper therefore acknowledge the complex dynamic system in which society operates and argue that through paying attention to the needs of citizens, designers can become co-creators within the system
    • Afterword: Reading mad men in the era of Trump

      Forde, Teresa; McNally, Karen; University of Derby; London Metropolitan University (Palgrave Macmillan, 2019-12-12)
      This edited collection examines the enduringly popular television series as Mad Men still captivates audiences and scholars in its nuanced depiction of a complex decade. This is the first book to offer an analysis of Mad Men in its entirety, exploring the cyclical and episodic structure of the long form series and investigating issues of representation, power and social change. The collection establishes the show’s legacy in televisual terms, and brings it up to date through an examination of its cultural importance in the Trump era. Aimed at scholars and interested general readers, the book illustrates the ways in which Mad Men has become a cultural marker for reflecting upon contemporary television and politics.
    • Alba

      Jinks, Cameron; University of Derby (Nature Connections, 2016)
      The photographs highlight the bleak and often brutal landscape of the region and the signs of past habitation. The ancient monuments of the stone-age, the strongholds of medieval clan control, sites of conflict, the ruins of the cleared villages are all evidence of a region with a rich cultural history, a culture that was systematically eroded from the early fifteenth century.
    • Alba

      Jinks, Cameron; University of Derby (2014-01)
      This exhibition combines the artist’s love of the Highlands in Scotland and photography with particular interest in historically significant sites and the change in land use in the region.
    • Altered states

      White, Christine; University of Derby (University of Chicago Press, 2009)
      The ways of reading the web are predominately visual, and it is rare for a viewer to simply read the pages one after another in a linear fashion; what is more usual is to edit as part of reading. We read a part, line or paragraph, skip irrelevant content and move through the information to find what we want. Often this is navigation done through visual structure, and by and through a sense of associative ideas. If this is the case, are we losing narrative student and are the readers enabled by this seeming lack of coherence?
    • The Alternative Document

      Bartram, Angela; University of Derby (Taylor & Francis, 2018-11)
      A guest edited volume by Angela Bartram. Contents: Introduction, by Angela Bartram; Absence makes the heart grow fonder: rethinking intentional material loss in temporary art, by Sophie C. Kromholz; The Italic I – between liveness and the lens, by Emma Cocker and Clare Thornton; I am here – you are there: let’s meet sometime, by Andrew Pepper; HOW – Heathrow Orchard Walks, observations and explorations of vibrant land, by Kate Corder; Documentation with the result of its own performing, by Una Lee; Constructions of the moving body: drawing and dancing, by Rochelle Haley; WRITING/ PAINTING/READING/DRAWING: something not yet, and yet, still something, by Steve Dutton; (Mythologies of) diving, flying and in-between, by Louise K. Wilson; A sense of becoming and alienation: the retrospective in the work of Jordan McKenzie, by Angela Bartram.
    • The alternative document exhibition.

      Bartram, Angela; University of Lincoln (2016)
      Artists: Tim Etchells, Jordan McKenzie, Rochelle Haley, David Brazier & Kelda Free, Hector Canonge, Rachel Cherry, Luce Choules, Emma Cocker & Clare Thornton, Kate Corder, Chris Green & Katheryn Owen, Andrew Pepper, Louise K Wilson, Bartram O’Neill. Beyond most ephemeral artwork a memory remains in the mind of the observer and this forms part of the legacy of the fleeting event. However, memory is mostly a personal experience, that shifts, mutates, and fades over time to become distant, different to its origin, and in this way its archival potential is unreliable. To overcome this dilemma a variety of lens-based archival methods have become the tradition of recording the ‘actual’ event in as far as it is possible. Although a recorder, of any variation, can provide footage that gives place and context of the archive document, they present a dilemma – how much do they indicate what it was like to ‘be there’. For recordings are mediated and translated for posterity through the direction of the person holding the device and document their viewpoint and subjective encounter with the work. This creates an archival document open to subjective discussion, as a memorial and work in its own right, and of which alternatives are often sought. It is in this way that the disciplinary ghettos of event and documentation are abandoned in favour of a mode of practice that allows for a greater level of mutual critique. For documentation is also subject to the same vagaries of time as the event itself. Concerned with the ephemeral and how it is perceived Peggy Phelan represents a position on this subject of “you have to be there” in order to understand the ephemeral. Phelan acknowledges that a performance “become[s] itself through disappearance.” This argument draws empathy, but in practice is a less than pragmatic account of the reality of experiencing ephemeral works, for how is the work to exist beyond the moment if not recorded in some way. The Alternative Document exhibition at University of Lincoln seeks to expand on the idea of the ephemeral and its loss, by offering a platform where different acts of legacy can be witnessed and discussed. An accompanying symposium to the exhibition was held in Lincoln Performing Arts Centre on Saturday 13th February 2016 with a keynote address by Tim Etchells, and opened with a performance by Jordan McKenzie on the evening of Friday 12th February 2016.