• Barcode I, II, III

      Wells, Kate; University of Derby (2014-06-21)
      Today there is an ever-increasing demand for printed fabrics to exhibit an ethnic twist or provide the impression of being hand produced. Some of the reasons for this may be due to a merging of cultures, through increased travel and advances in communications but there is also a growing trend in the importance of identity, place and individualism that has created a renewed interest in craft, one-off and hand produced products. An increasing desire for the unique and traditional: In-praise of the ‘hand’; ‘flaw’; ‘accident’ has potentially resulted in a growth of digital representations of traditional designs, many originating through painterly, dyed or hand printed techniques that produce marks upon or within the cloth that act as indicators of the technique employed and as such exhibit irregularity with the occasional fault implying the influence of the ‘hand’ in its production. The digitisation of traditionally patterned materials that are seemingly too expensive to still be produced by hand has enabled such design styles to enter into the marketplace. But this re-production, copying process of traditional designs using the new technologies of the time is historic, having taken place within Europe since the C18th with the birth of textile printing manufacture, so what makes digitisation of the process any different from a traditional copy? Hopefully successful digitisation of a design helps retain some of the qualities of ‘Slow’ production allowing reproduction of one-off pieces to be successfully digitally printed, even re-coloured. But many questions still remain: ‘Can digital copy with extensive CAD re-working retain the quality of ‘hand’ and ‘accident’ and continue to deliver the magical qualities, depth of colour and uniqueness that hand dyed and printed textiles exhibit?’ or ‘Can ‘hand’ and ‘technology’ unite together in creating a new, unique form of digital copy in the future?
    • Be your dog

      Bartram, Angela; University of Lincoln (KARST Gallery, Plymouth, 06/11/2016)
      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.
    • 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.
    • Be your dog (workshop)

      Bartram, Angela; University of Derby (2020-01-17)
      'Be Your Dog' sees participants learn from the behaviour of their dogs by mirroring what they do: walking, laying, barking, drinking, etc. They become dog in essence and learn through empathy, becoming an inter-species pack.
    • The benefits of an arts education

      Mcgravie, David; University of Derby (University of Derby, 06/12/2017)
      Latest reports suggest the creative industries are under pressure and question whether they can provide a useful education to young people. David McGravie, Head of the School of Arts at the University of Derby explains why an arts education is important and how it can benefit students
    • Between excess and subtraction: Scenographic violence in Howard Barker’s Found in the Ground

      Kipp, Lara Maleen; University of Derby (Centre de recherche VALE, 23/06/2017)
      The article examines the violence produced by the scenography of Howard Barker's Found in the Ground, which emerges out of the play’s formal experimentation. Thematically, the play is rife with violence, such as former Nuremberg judge Toonelhuis’ consumption of the remains of high-ranking Nazis he sentenced to death, the continuous burning of books and the retelling of various murders by the war criminal Knox. Found in the Ground re-visions the collective European memory of the Holocaust; this thematic violence is expanded and subverted by scenographic means, radically reimagining the historical context. The particularity of the spatio-temporal, audio-visual rendering of violence in Barker’s text is the focus of this article. The article relates the play to Artaud’s conception of cruelty and to Lyotard’s thinking on the sublime. It contextualises the play through Barker’s theoretical writings, Lingis’ notion of catastrophic time (2000) and Aronson’s proposition of the stage as an abyss (2005).
    • Beyond batched taxidermy

      Baker, Steve; University of Derby (David Winton Bell Gallery, 2015-01-23)
    • Beyond botched taxidermy

      Baker, Steve; University of Derby (2016)
    • Beyond theoretical: integrating a live project brief into an interior design module

      Jones, Rhiannon; Slabbert, Barend; McMahon, Daithi; Di Monte-Milner, Giovanna; University of Derby (University of Derby, 2021-07-20)
    • BFMAF – Border Crossing

      Davies, Huw; Iredale, Melanie; University of Derby (Arts Council England, 2014-09)
      The 10th edition of the Berwick Film and Media Arts Festival (BFMAF) ‘Border Crossing’ (September 2014) explored border identities and the crossing and transcending of global boundaries against the background of the 2014 Scottish Independence Referendum. The research contribution of Davies relates to the curation of the Artists’ Trail / Installations; a promenade exhibition of artists’ film and video contextualised by publication which links together a number of different site-specific architectural locations within the Elizabethan Ramparts. The 2014 edition featured the work of 47 artists and filmmakers from 17 different countries and included 16 UK premiers and 6 specifically commissioned works. The commissions (selected from an international call) provide the opportunity for the creation of original new works as a response to the Festival theme and environmental location. The audience attendance was 9450.
    • BFMAF – Fact or Fiction

      Davies, Huw; Taylor, Peter; University of Derby (Berwick Film & Media Arts Festival, 2015-09)
      The 11th edition of the Berwick Film and Media Arts Festival (BFMAF), ‘Fact or Fiction’ (September 2015) questioned the ambiguous relationships between fact and fantasy, documentary and narrative and reality and myth. The research contribution of Davies relates to the curation of the Artists’ Trail / Installations; a promenade exhibition of artists’ film and video contextualised by publication which links together a number of different site-specific architectural locations within the Elizabethan Ramparts. The 2015 edition featured the work of 40 artists and filmmakers from 20 different countries and included 12 UK premiers and 4 specifically commissioned works. The commissions (selected from an international call) provide the opportunity for the creation of original new works as a response to the Festival theme and environmental location. The audience attendance was 8910
    • The big picture

      Wilson, Colin; University of Derby (2014-01)
      To look at the Big Picture is an act of becoming involved, emotionally, physically and intellectually. To see the Big Picture is to see the complexity of relationships in everyday lived experience. In a world of small-minded, superficial, self-interested individuals, where images become noise, and noise becomes entertainment and distraction, where the shallowness of life coincides with the shallowness of understanding, experience and expectation. The Big Picture proposes a world of depth, a time for reflection a place for change. Alongside the Big Picture are the Big Questions
    • Bio-colours sustainable colour: Material, colour and patterning, choice for textiles that can have a positive impact on our well-being.

      Wells, Kate; Greger, Ness; University of Derby (2018-05-29)
      Bio-Colours Sustainable Colour: Material, Colour and Patterning Choice for Textiles that can have a Positive Impact on our Well-Being. The aim of this paper is to address the question: Can the textiles with which we surround ourselves improve our health and well-being while contributing to lessening the environmental impact of their production? Both design practice and theoretical research informed this paper by researching into the anti-bacterial properties of natural dyes while considering the methods of application of Bio-colours and their extracts to fabrics as a future sustainable colouring and patterning medium. The main objective of this paper is to bring together several aspects of the author’s research: That of the potential healing properties of natural dyes alongside practical experimentation into eco-patterning: A sustainable method for the colouring of materials via shibori and hand processes along side the use of light (differing wavelengths) as a potential method of aesthetic decoration, that is underpinned by the desire to design fabrics that are ethically and sustainably viable. Instigated by the output of collaborative research between two different disciplines: That of textile design and early coloration methods with historical photographic imaging techniques. The research initially considered the symbiotic relationships between natural plant extracts with ‘Anthotypes’, a very early form of photography c1840 and considered the success and failure of natural dye extracts to create images under different application techniques and light exposure sources. The aim of which, was to understand the success or failure of this type of patterning process on textiles and consider the question: Could this kind of photographic image making be applied as a future, sustainable method of design generation, colouration and patterning of fabric? The objective was in creating an alternative sustainable surface design process that relies upon light and natural colouring substances/dyes as the main patterning and processing medium. By embracing the ethos of ‘slow textiles’ as an alternative to ‘fast fashion’, the research considered the impact natural and synthetic dyes, fibres and the textile coloration industry have as a whole on the environment and well being of the world’s population. Practical design research investigations explored the potential for improving the welfare of the user through considered selection of the colouring matter, natural dye extracts; fibre bases such as hemp, ramie, bamboo, milk and soya alongside solar eco-patterning techniques with an overall aim of producing a patterned material that has sustainable and ethical credentials. Although some very successful outputs were achieved: The main disadvantage of this technique being sustainable being that the fugitive colorant that provides the photographic image/design continues to fade with light and time. New investigations lead to an improvement in fastness once a design has been created, with developments in application of the colouring matter as well as methods for enhancing the light fastness after exposure and patterning by applying an after-mordant such as Tannins from Oak and Sumac, plants high in aluminium; Symplocos Cochinchinensis and Camellia alongside Aluminium, Iron or Copper acetates to the patterned materials after exposure or the application of UV blockers such as Vitamin C, lemon and lime juice that does not normally affect the colour of the patterning produced or effect the potential healing properties of material bases and dyestuffs employed.
    • 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.
    • Black libraries

      Poynton, Stuart; University of Derby (Candlelight Records, 2015-10)
      Taken from the debut album 'The Calendrical Cycle: Eye of Earth' out now on Candlelight Records.
    • BlindSpot: a site-specific film installation at the Workhouse, Southwell (National Trust) for New Expressions 3 (New Opportunities Award)

      Shore, Tim; University of Derby (2015-07)
      The site-specific installation captures the passing of time, tracing the patterns of sunlight and shadow cast by the iron window frames of the building across the floors of the empty dormitories. The Rev. J.T. Becher, the founder of the Workhouse said that ‘An empty workhouse is a successful one’ and the film plays with nothingness and emptiness - the absence of the people the building was designed to hold - and the slow passing of light and time which recalls the lives of the inmates and people who have lived and worked at the Workhouse.
    • The body as instrument: tissue conducted multimodal audio-tactile spatial music.

      Lennox, Peter; McKenzie, Ian; Brown, Michael; University of Derby (25/08/2017)
      We describe early progress in exploring the compositional potential for multimodal music of a multi-transducer audio-plus-vibrotactile apparatus, utilising ambisonics encoding; the tactile component is an incidental by-product, carried by the same transducers. An elicitation exercise with one hundred uninstructed listeners who gave responses in their own words was conducted and responses were transcribed and aggregated to identify emergent descriptive themes. The tactile components of the stimuli assume greater importance in the perceptual experience than originally considered, suggesting compositional opportunities in utilizing additive effects of audio-plus-tactile signals. This could engender assistive technologies for those with some degree of conductive hearing loss, ameliorating music-deprivation and addressing quality-of-life (QoL) issues.
    • Bonfire of the inanities

      Lennox, Peter; University of Derby (30/09/2010)
      Times are hard and cuts have to be made, so let’s start by putting an end to verbosity and all those mind-bogglingly long assignments, research papers and reports,writes Peter Lennox, succinctly
    • Border fictioning (Eile project)

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2019-06-09)
      This paper will explore how the Eile Project (2016- ongoing), an art and spatial research practice, seeks to invent new ways of conceptualising and intervening in borders, as a mode of ecosophical art practice in what Haraway calls the chthulucene. The Eile Project takes form as an investigation of borders using art research methods with the aim to queer the notion of borders, through border-fictioning, border- linking/making; territorial myth-fictioning. It uses multimedia visual art methods, which include the development of experiments (site-specific performances, rituals, audio-visual digital film). The fictional character ‘Eile’ weaves through the experiments. Eile is a changling; a gorgon; a transmuter; a creature, an outside of time, an indeterminate flow. Eile makes and unmakes the UK/Irish borderlands; passing through them as they pass through her. Through performative gestures on the border using a range of materials Eile intervenes into this geopolitical border scene to develop border-fictioning and creating a new ethics and aesthetics of the border. Eile intra-acts with buildings, different species, the bogs, rivers, flora and fauna, caves, mountains, as well as introducing new materials (glitter, smoke, wire) and discourse (legal, historical, political, and cultural etc) in a re-working of current border material-discursive phenomena. The Eile Project investigates the complex intra-relations between human and non-humans; between the matter and discourses of the UK/Irish border in continual entanglement. The presentation will include a presentation of the research, including showing extracts from the Eile films.