• 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.
    • 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.
    • Adding variety to your learning activities.

      Bryson, David; University of Derby (2010-06-16)
    • 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?
    • Ambiguity, uncertainty and new realities: perspectives of creative value, utility and authenticity

      Wilson, Chris; Brown, Michael; University of Derby (KIE Conference Publications, 2015-07)
      The concept of creativity is synonymous with the formulation of value judgments. Related primarily to the experience of new and unfamiliar ideas, creativity is a subject directly connected to conceptions of adjustment, recalibration, measurement and evaluation. Albeit a subjective term open to considerable flexibility of interpretation, creativity has nevertheless become a capacity and commodity of notionally high social and economic value. Consequently, creativity has never been subject to greater scrutiny and judgement and understanding of creative value subject to greater discussion and evaluation. Exploring aspects of creativity associated with ambiguity and uncertainty through the discourse of authenticity and aesthetics, this chapter positions analysis in the narratives of insight and imagination, the romanticism of discovery and talent, and debates about the increasing virtualisation of creative practice and emerging prospect of artificial creativity. Investigating the potential for what might be described as authentic creativity, notions of forgery and fakery, serendipity, accidental discovery, and the dynamics of positive and negative creative conditions, provide a basis for focused consideration of the ‘how’ and ‘why’ of creative activity and the various ways these relate to the determination of value in the ‘what’ of creative outcomes. Exploring first the nature of creative value and closely related definitions of creativity, consideration is then given to the temporal and cultural dynamics of creative value judgments before focusing more specifically on contexts of creativity and areas of creative ambiguity. Introducing a series of illustrative case studies, discussion focuses on the parameters of creative value judgements to underpin a tentative definition of creative authenticity. Conclusions highlight a range of possible perspectives related to the subjective nature of creativity and definitions of creative value. Creativity and creative value can be determined simply according to the scale of impact on human well-being, progress, fulfillment, security, or other suitable value indicator, the quality of lived human experience, the intrinsic qualities of the object, artefact or activity, or combination of all three. Given the inherent diversity and instability of creation and reception contexts, the search for any form objective measure of creative value may be a fruitless one. However, it is in the very subjectivity of creative experience that creative authenticity is most visible.
    • The ancestral forest: memory, space and ritual among the Kulunge Rai of the Eastern Nepal

      Nicoletti, Martino; University of Derby, School of Art and Design (Vajra Publications - Kathmandu, 2006)
      An ethnographic monography devoted to the religion of the Kulunge Rāi ethnic group of eastern Nepal. Bearing witness to a far-off past of hunting and nomadic life, Kulunge's myths and legends form a plot and scenario that comprise a multitude of invisible entities: the “hunter-spirits” and the “monkey spirits”, the undisputed sovereigns of the forest world; Laladum, the deity who resembles a little girl, the initiator of young shamans from the villages of the area; the Nagi, or ophidiomorphic-spirits, dwelling in the waters, the totem ancestors of the Kulunge Rāi group; Molu, a mythical forefather, lost in the woods and transformed into a deity. A journey through the oral memory, the sacred geography and religious imaginary of this people. An ideal itinerary that progressively abandons the inhabited world and enters the abysses of the mythical woodlands – the silent witnesses of the group’s ancient life style – only to lose itself in the thick of the immense forests that even today surround the settlements of the Kulunge Rāi.Starting from the cults of domestic deities, the research goes on to analyse the rituals that accompany the souls of the dead and the village farming cults, as a necessary step before dealing with the hunting cults and the hidden paths beaten by Kulunge Rāi shamans.
    • The archaea (2015).

      Rushton, Stephanie; University of Derby (2015-09-15)
      Archaea’ refers to the kingdom of single celled organisms with the simplest known molecular structure, thought to be the closest living ancestor to the origin of all life on earth. ‘The Archaea’ features a series of constructed photographic tableaux of tangled, botanical phantasmagoria, which refer to the landscape with a suggestion of figuration. Inspired by the ‘Jungle paintings’ of Max Ernst and alluding to Ballardian themes of Nature’s retribution, the resulting images succeed in being both menacing and simultaneously humorous. The high-contrast, backlit, large scale photographs are created in the studio and subsequently manipulated with a digital technique; used here to denote an underlying molecular structure redolent of microscopic photography. This serves to enforce a link between animal and vegetable but also lends the work a painterly quality, paradoxically at odds with the photographic medium. The resulting imagery emits a dreamlike quality that induces the pareidolic illusion latent in the human Psyche, this anthropomorphism further reinforcing the Archean molecular link between everything that exists. All plants, animals and humans, are biologically connected and this genetic inheritance can be traced back to the human brain and spinal column. The split between animals and plants on the Phylogenetic tree occurred around 1.6 million years ago, however with some plant species we still share as much as 75% genetic similarity.
    • The archaea (2017).

      Rushton, Stephanie; University of Derby (2017-03-24)
      The Archaea’ features a series of constructed photographic tableaux of tangled, botanical phantasmagoria, which refer to the landscape with a suggestion of figuration. Inspired by the ‘Jungle paintings’ of Max Ernst and alluding to Ballardian themes of Nature’s retribution, the resulting images succeed in being both menacing and simultaneously humorous. The high-contrast, backlit, large scale photographs are created in the studio and subsequently manipulated with a digital technique; used here to denote an underlying molecular structure redolent of microscopic photography. This serves to enforce a link between animal and vegetable but also lends the work a painterly quality, paradoxically at odds with the photographic medium. The resulting imagery emits a dreamlike quality that induces the pareidolic illusion latent in the human Psyche, this anthropomorphism further reinforcing the Archean molecular link between everything that exists. All plants, animals and humans, are biologically connected and this genetic inheritance can be traced back to the human brain and spinal column. The split between animals and plants on the Phylogenetic tree occurred around 1.6 million years ago, however with some plant species we still share as much as 75% genetic similarity.
    • 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.
    • Are you a researcher as well as a medical illustrator?

      Bryson, David; University of Derby (2013-12)
      When we list the areas of practice for medical illustrators we always include research, but how involved in research are we? The aim of this activity is to encourage your professional development not just as a medical illustrator but your involvement with research whether that is undertaking your own research, undertaking evidence based practice (1) , working as part of a research team, advising researchers on the value of medical illustration or supporting a student undertaking a research project for their degree or post-graduate qualification.
    • Art and maternal subjectivity: an ongoing relation

      McCloskey, Paula; University of Derby (M/other voices, 2015-04-20)
      Art and maternal subjectivity: an ongoing relation’ is an online journal column I wrote for M/other voices organisation in Rotterdam, NL following an artist talk I gave in July 2014. Both research events explore the research question below. They form part of the ongoing iterative research which weaves through my arts practice and art writing on Art, Maternal and Matrixial Encounters. This research is located in my PhD research Art, Maternal and Matrixial Encounters (University of Sheffield, 2014). Working with maternity as a thinking apparatus and as integral to my practice is manifested in the collaborative arts practice ‘a place of their own’ (see separate Udora handle and website link), and various distributed pieces of writing, talks and art projects. The concept of the matrixial recurs in this work, referring to artist and psychoanalyst Bracha Ettingers’ matrixial theory which explores the lasting legacy of the intrauterine encounter between the I (foetus in late stages of pregnancy) and non I (pregnant woman). Throughout this work the research question is: if maternity is taken to be a thinking apparatus, a concept, an encounter, as well as a lived experience what insights and new knowledge might emerge from arts practice and art writing that explores the complex entanglements of ‘maternity’ (in its broadest sense) and art?
    • Art, Maternal and Matrixial Encounters

      McCloskey, Paula; University of Sheffield (2013-12-06)
      Funded by the ESRC as a studentship ‘Art, Maternal and Matrixial Encounters’ is my PhD thesis. The opening paragraphs contextualise the research: ‘Ten years ago I saw the art-practice of French born artist Louise Bourgeois. I had come across her work before, but this time it was different. This time something happened. Viewing the work had an effect on me that I had not experienced before. I was drawn to the images and moved by them. I was mesmerised by the sensations that beholding the work was able to ignite in me. I was a newly single mother in my mid-twenties when this happened. I was in the midst of a traumatic time in my trajectory, a time where I felt lonely and lost. Louise Bourgeois' work was something I felt connected to, it made me feel differently about myself and my situation. Over time, I would come to think and refer to this happening as an encounter, it being an event that marked a tipping point in life. This encounter with Louise Bourgeois' oeuvre, this event that catalysed change is the starting point for this research….The feelings, the intensity, the sensations all worked in a way that was new and exciting. I could not let go of this 'happening'. I wanted to understand it, make sense of it and learn from it. At the time of this early encounter with Bourgeois' oeuvre I was in a distraught post-natal state, I felt that Bourgeois', art in a complex way that I did not understand, connected to my maternity. The complex connection to my maternity, both in terms of the reference to the maternal in the images and to how they made me feel is an important aspect of how I experienced Bourgeois' practice from the outset. When I first started to contemplate what this experience, this happening, might be, thinking of it as an encounter – an art encounter. At the time I was ignorant of this concept's use in philosophical and psychoanalytic texts that I would later discover and use when I embarked on this research. I started reflecting on my experience as an encounter, because when I discovered the work of Louise Bourgeois it constituted an unexpected event that I would credit with catalysing a turning point in my life. Once I started this research my understanding of encounter changed, as did my understanding of the encounter I experienced with the practice of Louise Bourgeois. Following the encounter with Bourgeois' art I read about, (among other uses of the concept of encounters) art encounters in the work of Simon O'Sullivan4 and maternal encounters in the work of Lisa Baraitser, which explore ideas and thinking that art encounters and maternal encounters respectively can potentially have a transformative affect/effect on subjectivity. Both of these books, along with others, which will be explored in the main text, informed how I came to think of the term encounter. The point of raising their use and influence at this stage is to alert the reader to the use specifically of the term art-encounter from the outset as stemming from my initial tacit use of the term encounter to think of my experience of the work of Louise Bourgeois, which would later be informed by reading around art and other encounters. I use it then to literally describe this experience, as well as exploring what an art-encounter is in more general terms as I work-through my art-encounter throughout this thesis. This research is one outcome of a process of contemplation that I engaged in to try and understand and make sense of this art-encounter. My art-encounter is thus not only used to locate the origins of this research; it is also invoked as a heuristic device to explore encounters beyond the scope of my art-encounter experience. This exploration continues to use my art-encounter, in part, as a case-study to consider, in the first instance, art-encounters' possible capacity for subjective transformation. Part of the contemplation of my art-encounter, which will be explored in more detail in different places throughout this thesis, was a consideration of the place of my maternal experience in the naming of the art-encounter with the work of Louise Bourgeois. The investigation into my art-encounter thus involves a teasing out of the place of maternal experience in this encounter; and, once again, using this experience, or the contemplation of this experience as a heuristic device within this research. In the process of deciphering the place of my maternal experience in the conditions and causes of my art-encounter I explore the potential of using traumatic maternal experience as a site of knowledge in and of itself. The process of inquiry into my art-encounter, and exploration of the place of my maternal experience in this encounter works towards revealing some insight into the conditions and characteristics of possible subjectivising encounters. This short narrative serves to introduce the research and provides some explanation for the two research questions, below, in terms of the issues embedded into the first, and then to the issues explored through the second: How can we understand an art-encounter's capacity for subjective transformation? When the invocation of traumatic maternal experience is explored as site of knowledge in the context of an art-encounter, what new insights might emerge into the conditions and characteristics of potentially subjectivising encounters?’
    • The artistry of conversation.

      Jones, Rhiannon; Nottingham Trent University (2016-05-01)
      This thesis proposes a new way of thinking about conversation as a methodology and argues that conversation itself can be considered as an art practice. The practice research has been developed through a body of five artworks produced between 2012-14, each of which directly engaged with communities and residents of the city of Nottingham, UK, and emerged in relation to the specificity of this location. The doctoral research has been presented within the international contexts of art and social science through several seminars and conferences, including the researcher's co-founding and co-curation of InDialogue (2012 – present), a biannual interdisciplinary symposium. The research engages with existing work on conversation and the dialogic by Allan Kaprow, David Bohm, Mikhail Bakhtin, Grant H. Kester and Hubert Hermans, from which it develops a socio-artistic and philosophical framework to theoretically underpin a body of dialogic practice. For the purpose of this thesis, PhD stands for Practice in High Definition: the body of work produced has been tested and analysed to develop an original methodology, which has been termed APSSL, to describe its five key features: architactics, performativity, storyteller, social activism and legacy. The thesis sets out the framework for a performative and experiential approach, providing examples of the orchestration of space and the dialogic architectures of site and body. Conversation is considered as a methodological producer and as the instigator of practice. Aesthetic in approach, the methodology is recognised for its socializing power in terms of generating the opportunity for a public presentation of self and other, and for the mobility of voices in spaces. It establishes that there can be an artistry of conversation.
    • 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.
    • Auralising the sublime: An investigation into creativity and process in the pursuit of sonic perfection.

      Brown, Michael; Paterson, David M.; Wilson, Chris; University of Derby; University of the Highlands and Islands (KIE Conference Publications, 2017-10)
      This paper investigates the creative process in the production of modern musical designs, from initial concepts through to process realization and explores the notions of expression, creative-wellbeing and closure. At what point in the creative process may a work of Art be considered complete? Is a modern creative artifact, especially digital, ever truly finished? The work considers compositional design and intent and to what extent creative direction and coherence are meaningful initial considerations; should creativity be burdened with consideration of outcomes at the outset? Technology and creativity are very often bound together in the contemporary creative process; how do we manage the process to ensure that we satisfy our aesthetic compass and promote a direction of travel to a satisfying sonic destination? Prevalent theories of creativity, tools and techniques will be investigated that can be utilised to provoke often unanticipated, but nevertheless, rewarding results. The exploratory use of digital audio manipulation tools and chance operations are considered alongside more determinate predictable processes in order to elucidate the role of the unforeseen in the production of creative content. The authors will document their own collaborative work and provide perspectives on artistic case studies from the world of education, visual arts and music. The work will promote the direct integrated teaching of creativity in music production and composition classes developing applicable tools that may help to stimulate original thought and address creative blocks, evaluating whether cognition of the creative mechanism offers positive stimulation in seeking creative solutions in the musical production process.
    • Be your dog.

      Bartram, Angela; University of Lincoln (KARST Gallery, Plymouth, 2016-11-06)
      In partnership with the Live Art Development Agency, 'Be Your Dog' is a project that aims to transcend the hierarchies of pet and owner. The project sees humans and their dogs aim to demonstrate a connection with each other based on mirrored actions that demonstrate empathy and equality. This public event is a result of workshops, and you may see pairs sitting or laying together, looking in each others eyes, or involved in small reciprocal actions. Of course this might not happen, as all are collaborators and the dogs will bring their own contribution to the work, but whatever happens you will see collaborating pairs being responsive in whatever way they deem right.
    • Birth shock: exploring pregnancy, birth and the transition to motherhood using participatory arts.

      Hogan, Susan; Baker, Charley; Cornish, Shelagh; McCloskey, Paula; Watts, Lisa; University of Derby (Demeter Press, 2015-09)
      Natal Signs: Cultural Representations of Pregnancy, Birth and Parenting explores some of the ways in which reproductive experiences are taken up in the rich arena of cultural production. The chapters in this collection pose questions, unsettle assumptions, and generate broad imaginative spaces for thinking about representation of pregnancy, birth, and parenting. They demonstrate the ways in which practices of consuming and using representations carry within them the productive forces of creation. Bringing together an eclectic and vibrant range of perspectives, this collection offers readers the possibility to rethink and reimagine the diverse meanings and practices of representations of these significant life events. Engaging theoretical reflection and creative image making, the contributors explore a broad range of cultural signs with a focus on challenging authoritative representations in a manner that seeks to reveal rather than conceal the insistently problematic and contestable nature of image culture. Natal Signs gathers an exciting set of critically engaged voices to reflect on some of life’s most meaningful moments in ways that affirm natality as the renewed promise of possibility.
    • 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.