• CaCO3 Composite Images

      Jones, Rhiannon; Kelly, Traci; University of Derby (2019-11)
      A series of composite images were created to explore research-creation as a methodology for Kelly + Jones, through which they embraced the unknown to inform and develop the series of works into conceptual thinking around chalk deposits from past marine lives and how this is distilled into visual and audial practice. Kelly + Jones worked in two sites - an old school stairwell and a chalk pit and used their own bodies as sculptural soundscapes to form fragile and precarious interplay with the site. The documentation from the explorative residencies in the two sites in turn became the artwork and formed the series of composite images that were then commissioned by The Glass Tank, Oxford. The composite images create a visual relationship that explores the interplay between the artists’ bodies as site and landscape as site.
    • A cage for the muse and the limits of invention

      Brown, Michael; Wilson, Chris; University of Derby (KIE Conference Publications, 2016)
      This paper explores the notion that creativity in the arts, particularly music, benefits from constraints. Expressive freedom is often fostered within education to encourage the pursuit of artistic individualism, but straying too far from stylistic norms can often engender incoherence. This paper does not challenge the breaking of rules that define a style nor does it denigrate the benefits that may arise from conflicting ideas and unusual combinations, but explores the virtue and benefits of boundaries and suggests that freedom, from a creative perspective, is often an illusory construct; strong creative identities are achievable through and often defined by creative constraints. Conclusions focus on the potential profits of constraints that bind expressive ideas and the function and virtue of intuition within the creative process; theorizing upon whether creative confinement, or the awareness thereof, is ultimately a liberating or inhibiting experience. We determine that artistic creative freedom as a concept may indeed be illusory, but the perception of freedom for some is a necessary ingredient in the creative act.
    • Capturing attention in the epoch of the media savvy

      Benedetto, Stephen Di; Oddey, Alison; White, Christine; University of Derby (Intellect, 2013-07-01)
      There has been a revolution in the critical scholarship concerning the altered ways in which we describe and theorize the designed visual elements of production, artworks and events. No longer are we satisfied with the boundaries between installation, live performance, television and cinema. Like our media-savvy contemporary audiences, artists are experimenting with novel combinations of media to create new collaborative relationships between artists and audiences.
    • Care + attend.

      Watts, Lisa; University of Derby (Society of Artistic Research, 2015-02)
      Care + Attend comprises a constellation of fragments and extracts - of different intensities and durations - where the exposition of research emerges as poetic and performative, generating moments of potential resonance and dialogue. We explore the theme Unconditional Love through the principles (perhaps even methodologies) of care and attention, as applied within specific (artistic) practices of both the everyday and of the self. Beginning with the observation that both curate and curiosity have shared etymology in the term ‘care’, Care + Attend seeks to develop a research vocabulary based on receptivity, openness, fidelity, integrity, intimacy, friendship and commitment (whilst not ignoring the parallel principles of distraction, inattention, the act of closing one’s eyes or of looking away). Cocker and Lee have invited a range of artists & writers to share and reflect on their own processes, philosophies and politics of care and attention, and to present these through live performance, screenings and spoken word. Contributors include Kate Briggs, Daniela Cascella, Belén Cerezo, Emma Cocker, Steve Dutton + Neil Webb, Victoria Gray, Rob Flint, Mark Leahy, Joanne Lee, Martin Lewis, Sarat Maharaj, Brigid McLeer, Hester Reeve, and Lisa Watts [Society for Artistic Research website].
    • The Carer

      Templeton-Parker, Christine; University of Derby (Palm Springs International Short Film Festival, 2016-06-24)
      The Carer is a short drama commissioned for the Shine a Light series of short films. Under the scheme, funded by Derby QUAD and the Esmee Fairbairn Arts Foundation, several filmmakers from around the UK were briefed to illuminate the experiences of people little seen on screen. In this case, writer-director Christine Parker took inspiration from Seen Ya Rights, a group of elderly LGBT activists to realize a story that addresses their current concerns and experiences. Director’s Statement The Carer explores what happens when an elderly man feels pressured to return to the closet in his dying days. I have taken visual points of reference from classic gay texts such as Jean Genet and Mapplethorpe in the film, (such as the use of flowers), which is about finding a way to survive and even thrive, when your very identity is under threat. In that sense, it mirrors the struggle we all have to find a way to come to terms with who we are and retain continuity of identity. The people of Seen Ya Rights lived through times when homosexuality was illegal, through the aids epidemic, and have spent a lifetime battling for the right to be out, to be themselves. They feared that in old age they would lose this hard-won identity. However, they also wanted a story that did not portray a Gay character as a victim. So, in The Carer, I set out to celebrate the survival and wisdom of our elders, and to pay tribute to their love and generosity. Students and staff of the University were involved in the project as well as industry practitioners, so it was a great way to integrate research into teaching.
    • Causal contexts, cognitive cartoons and spatial sound

      Lennox, Peter; Myatt, Tony; University of Derby (Qu e e n M a r y , U n i v e r s i t y o f L o n d o n, 20/12/2006)
      Based on previous work the proposal here is that spatial perception problems in artificial environments (e.g. spatial music displays) can be cast as a subset of the problems of cognitive mapping of the causal context that surrounds and supports the perceiver. The intuitively available distinctions in these contexts of foreground and background, previously couched in terms of perceptual significance exist as externally valid causal distinctions; the task of perception is to cognitively represent these distinctions sufficiently for appropriate interaction. Effectively, this means that some items will “naturally” occupy attention, whilst others should equally naturally appeal to background, inattentive processes. Hence, aspects of the causal context will be accorded differing cognitive resources according to their significance, and some may be very sparsely represented in cartoon form. That is, perception engages in sophisticated information reduction in cognitive representation in order to capitalise on available resources. This poster outlines how causal contexts (including spatial matters) can be physically cartoonified in reciprocal manner to the dedicated perceptual mechanisms’ operations, to economically and intuitively appeal to perception.
    • Ceramic sculpture of animals and birds

      James, Jeremy; University of Derby (2016)
      This show will feature a major new body of work by Jeremy James. Included for the first time are his linocuts of wildlife alongside his much loved ceramic sculpture. His subject matter ranges from all kinds of birds to animals such as hares, otters and meerkats. Jeremy divides his time between teaching and continuing to make and show work with many galleries nationally and internationally.
    • Chala Ra Dhatu: Newari percussions of the Kathmandu Valley

      Nicoletti, Martino; University of Derby, School of Art and Design (Firenze - Bologna: A-Buzz Supreme - Stenopeica, 2013)
      This CD presents a wide overview on the world of the Newari percussions as they are mainly widespread in the context of the Dapha musical tradition. Scientific researches, recording organisation and supervision: Martino Nicoletti and Rameswor Maharjan; Sound engineering and post-production: Roberto Passuti; Label: Stenopeica – A Buzz Supreme.
    • Chalk Drawings

      Jones, Rhiannon; Kelly, Traci; University of Derby (2020-01)
      The chalk drawings created were in response to exploring the relationship between body through breath and past life. The act of drawing through alternative gestures and use of the body and the relationship between writing as a female form and act. It explored the fragile nature of writing through the material relationship to paper and the non linear and use of the fold and the edges. The work provoked a discourse as to the conditions and gestures that precede writing.
    • Chancel frequencies.

      Locke, Caroline; University of Derby (20-21 Arts Centre, 2015)
      Chancel Frequencies at 20-21 Arts Centre featured three works especially selected to respond to the former church building as a contemplative space, portraying images of sound, which are otherworldly, and designed to encourage contemplation. Circular projections show vibrations caused by different sound waves through water, filmed as part of her previous Sound Fountains project. In a new site specific work, three shallow steel pools made in the shape of the church window contain motors causing gentle ripples that will be reflected on the surrounding walls. Finally on a wall mounted screen, a film loop shows a single tuning fork shifting between 25Hz and 16Hz – made in connection with Frequency of Trees.This was a commissioned Exhibition at 20-21, from July 9th – October 9th 2015.
    • Charya: the tantric musical tradition of the Kathmandu Valley

      Nicoletti, Martino; University of Derby, School of Art and Design (Firenze - Bologna: A-Buzz Supreme - Stenopeica, 2013)
      This musical CD presents a wide overview of Charya, one of the lesser known sacred musical traditions of the Kathmandu valley. Rooted in esoteric Tantric Buddhist tradition (vajrayana), widespread among the Newar of Nepal, Charya songs represent an integral part of the Charya nrtya sacred dances, traditionally handed down and performed in Vajracarya Tantric spiritual lineages. Traditionally performed by initiated dancers in a highly secret context, these dances represent an authentic form of dynamic meditation (sadhana). Founded on the practice of specific mental visualisations and on a deep identification of the dancer with the specific meditation deity (yidam) evoked during the dance, Charya nrtya’s main aim is to achieve higher states of consciousness and a direct realisation of the ultimate, non-dual and empty nature of phenomena. In this sense, the peaceful and wrathful deities evoked and “danced” during the performance – belonging to both Buddhist and Hindu traditional pantheons – represent the direct personified expression of the ceaseless creative energy inherent in the Emptiness itself (sunyata). In this context, thanks to the magic power of the chant, the music and the dance, each performance is thus transformed into a veritable yogic practice aimed at propitiating the tangible manifestation of the most profound divine powers that inhabit and vivify the universe, as well as providing the dancer with a rare opportunity of realising directly the enlightened condition of his/her own mind. Kept secret until a few decades ago, only recently have Charya songs and the Charya nrtya dance tradition been made accessible to a non-initiated audience, including westerners. The CD, recorded in Kathmandu under the supervision of Dr. Martino Nicoletti, has been created thanks to the collaboration of Rameshwor Maharjan, an internationally renowned Newari Charya dancer and musician. Track 1: Sri Padma Nrtyasvara Vandana: hymn to the Lord of the Dance Track 2: Sodasa Lasya: the dance of the Sixteen Offering Goddesses to the main deity of the mandala Track 3: Arya Tara: the dance of the Green Tara Track 4: Vajrayogini: the dance of Vajravarahi, “The Diamond Sow” Track 5: Manjusri: the dance of the Bodhisattva Manjusri Track 6: Panca Buddha: the dance of the Five Buddhas Track 7: Kumari: the dance of the virgin goddess Kumari Track 8: Rakta Ganesh: the dance of the Red Ganesh Track 9: Sri Bhairav Kali: the dance of Bhairav and Kali Scientific researches, recording organisation and supervision: Martino Nicoletti; Sound engineering and post-production: Roberto Passuti; Label: Stenopeica – A Buzz Supreme.
    • Chaturman Rai: fotografo contadino dell'Himalaya

      Nicoletti, Martino; University of Derby, School of Art and Design (Edizioni Exòrma - Roma, 2010)
      Combining anthropological and aesthetical perspectives, the book presents original photographic work by Chaturman Rai, a wholly self-trained folk-photographer living in one of the remotest areas of the Himalayas.
    • CHEAD Annual Conference 2020

      Jones, Rhiannon; University of Derby; Birmingham City University; CHEAD (2019-03-18)
      This was a bespoke design for CHEAD that was developed and reconfigured over the two days of the conference to support the conference themes. S.H.E.D was commissioned to act as an open space for discussions to take place, and then a private, more closed space for the facilitation of a participatory workshop for delegates to consider the 'Challenge of Change: The value of creative education supporting inclusion and diversity'. S.H.E.D was offered as a case study and live installation to see the research methodology of how to design for dialogue through reconfigurable and dialogic space. It was also a consultation space and a disseminator space for CHEAD, led by Dr Rhiannon Jones.
    • Chesterfield Art Trail

      Burstow, Robert; University of Derby (Chesterfield Borough Council, 2013)
    • Civic LAB Symposium 2021

      Jones, Rhiannon; Murden, Jade; McMahon, Daithi; Hawthorn, Matt; University of Derby (University of Derby, 2021-07-08)
      The online Symposium: CivicLAB presents the work of researchers, artists and creative industry colleagues from across the UK, including international colleagues from Venice, Finland, USA. Speakers were from European Cultural Academy , Tate Exchange, Derby County Community Trust, Derby Theatre, Derby Cathedral, University of Manchester, East Street Arts, Space and Place Lead, Council for Higher Education Art and Design (CHEAD), Fashion Academics Creating Equality (FACE), University for the Creative Arts, Cumulus Association, University of Swansea, Mighty Creatives, University of Nottingham, University of Derby, Each speaker focuses on participatory culture, creative dialogue and experiential design for social impact. Questions asked include: How do we build communities (Manzini, 2019) and how can we create the conditions in which those communities can sustainably develop, innovate and thrive within the social, economic, environmental and cultural challenges of the 21st century? Researchers and practitioners in the LAB amalgamate a diverse span of creative practices and perspectives across the arts and social sciences to contribute to this burgeoning field of enquiry; interrogating, extending and redefining the value of creative practice to the public sphereThe Symposium events were organised and curated by Dr Rhiannon Jones supported by co-conveners Dr Daithi McMahon, Jade Murden and supported by Matt Hawthorn, The Symposium includes papers, presentations, panels, Keynote and workshops by the following international speakers: Dr Cara Courage, Dr Daithí McMahon, Dr Nick Owen (MBE), Dr Annie Tubadjiat, Dr Larissa Allwork Dr Rhiannon Jones, Dr Clive Holmwood, Dr Teresa Forde, Dr Maria Photiou, Dr Gemma Collard-Stokes, Panel Speakers: Liz Ange, Alexandra Laqueuer, Anna Lindberg, Benita Odogwu-Atkinson, Sandra Booth, Caroline Barth, The Very Rev'd Dr Peter Robinson, Dr Victoria Barker, Professor Cecile Wright, Simon Carnell.
    • CivicLAB Symposium proceedings

      Jones, Rhiannon; McMahon, Daithi; Murden, Jade; University of Derby (University of Derby, 2021-07-08)
      Civic LAB is a collaborative research Civic Lab is an interdisciplinary research group centred on participatory culture, creative dialogue and experiential design for social impact. How do we build communities (Manzini, 2019) and how can we create the conditions in which those communities can sustainably develop, innovate and thrive within the social, economic, environmental and cultural challenges of the 21st century? Researchers and practitioners in the Lab amalgamate a diverse span of creative practices and perspectives across the arts and social sciences to contribute to this burgeoning field of enquiry; interrogating, extending and redefining the value of creative practice to the public sphere. As a research forum for partnership and transfer of knowledge and best practices, the lab offers thoughtful and provocative readings of this sphere, through practical and theoretical acts of research and dissemination. The LAB promotes and supports a wide range of multidisciplinary creative research activities working with external cultural partners, public, commercial and third sector organisations, educational institutions and international networks. Through public engagement, participation and collaboration we aim to develop, deploy, evaluate and publish projects, works and methodologies which engender sustainable social, environmental and cultural impact. This research group is aligned to The Digital and Material Artistic Research Centre (DMARC) at the University of Derby, which addresses the shifting boundaries within the terrain of creative and artistic research. The work of the lab articulates a public pedagogy which effaces the boundaries between research, teaching, and the University’s civic agenda to create a positive impact in a range of contexts including, but not limited to: • socially engaged artistic research practice • health and wellbeing • social justice, mobility and inequality • participatory placemaking/place-reshaping • play, pedagogy and educational development • cultural heritage and belonging This is the first Civic LAB Symposium Civic LAB is a research group that sits within DMARC – the Digital Material Artists Research Centre based in the College of Arts, Humanities and Education. As a LAB we very much support and encourage a cross university way of working both internally and externally with stakeholder and the public. We want to use this symposium as a platform for profiling the brilliant research that is being undertaken by colleagues here at Derby but also those from other H.E institutions, such as University of Nottingham, Swansea University, University of Helskini, University of Manchester, University for the Creative Arts. We also have colleagues joining us from Derby County Community Trust, Derby Cathedral and Derby Theatre. We are joined by The Council for Higher Education in Art & Design (CHEAD), East Street Arts, Cumulus the only Global association to serve art and design education and research, The Mighty Creatives and European Cultural Academy, Venice. This fantastic group of organisations and individuals will enrich our thinking and sharing of methods of best practice and research and regroup our thinking in what we mean by Civic Life, and its impact on and relationship to each of us as academics, as citizens and industry professionals.
    • Clever Jack and the giants.

      Davidson, Susanna; Broadley, Leo; University of Derby (Usborne Publishing, 01/01/2015)
      A classic tale, retold for young readers. When poor Jack swots seven flies with a single blow, he can't wait to tell the world how brave he is. But he has to use his wits to defeat an angry collection of giants to become a real hero.
    • Cognitive maps and spatial sound

      Lennox, Peter; University of Derby (2013-09)
      This presentation, accompanying a conference paper at the Audio Engineering Society's 52nd Annual Conference, is used as undergraduate teaching material at the University of Derby.The Paper paper discusses the applicability of the “cognitive map” metaphor to potential usages of artificial auditory environments. The theoretical contents of such maps are suggested. Maps are generally considered as having spatial, temporal, causal and territorial representational character, so that affordances in the environment can be utilized in timely fashion. A goal of this theorizing is that artificial auditory environments could appropriately represent affordances for interaction in entertainment, simulation and auditory cognitive training.
    • Collaborating animals: Dog and human artists.

      Bartram, Angela; University of Lincoln (University of Adelaide, 2017)
      Be Your Dog was a Live Art Development Agency DIY funded project that aimed to explore and analyse relationships beyond the hierarchies of pet and owner in response to Donna Haraway’s concept of two companions are necessary for a functional co-species cohabition. This is in response to scientific findings in animal behavioural studies that suggests hierarchy is unproductive in interspecies domestic cohabitation, and that non-human animals respond to other beings through emotional contagion and empathy. Palagi, Nicotra and Cordoni state in Rapid Mimicry and Emotional Contagion in Domestic Dogs “emotional contagion, a basic building block of empathy, occurs when a subject shares the same affective state of another,” which the project tests and explores with selected artists and their dogs. The project sees participants and their dogs attend workshops over two consecutive weekends to learn how to establish empathy, equality and connection. This included learning strategies for dog and human to be equals with each other, and with other pairs to test if it is possible to establish a non-hierarchical pack. Essentially, the project tests scientific findings through art practice, and concludes that it is possible to learn about, and relate to the cohabiting animals when empathy and equality is engaged instead of dominance. A concluding public event was staged at KARST (Plymouth) following the workshops on 6 November 2016 where all participants, human and dog, performed as collaborators. Analysis of Be Your Dog was presented as a video paper, ‘Collaborating Animals: Dog and Human Artists’ presented at Animal Intersections, at the 7th AASA Conference at University of Adelaide, 3-5 July 2017. Reworked video footage from the public event included in the conference’s accompanying exhibition at Peanut Gallery and Nexus Arts, Adelaide, 4-16 July 2017. Additionally, he paper, ‘Collaborative Animals: Dogs and Humans as Co-Working Artists, was presented at the conference ‘Living With Animals/Seeing with Animals, 22-26 March 2017 at Eastern Kentucky University.
    • Collaborative animals: Dogs and humans as co-working artists.

      Bartram, Angela; University of Lincoln (Eastern Kentucky University, 2017-03)
      Be Your Dog was a Live Art Development Agency DIY funded project that aimed to explore and analyse relationships beyond the hierarchies of pet and owner in response to Donna Haraway’s concept of two companions are necessary for a functional co-species cohabition. This is in response to scientific findings in animal behavioural studies that suggests hierarchy is unproductive in interspecies domestic cohabitation, and that non-human animals respond to other beings through emotional contagion and empathy. Palagi, Nicotra and Cordoni state in Rapid Mimicry and Emotional Contagion in Domestic Dogs “emotional contagion, a basic building block of empathy, occurs when a subject shares the same affective state of another,” which the project tests and explores with selected artists and their dogs. The project sees participants and their dogs attend workshops over two consecutive weekends to learn how to establish empathy, equality and connection. This included learning strategies for dog and human to be equals with each other, and with other pairs to test if it is possible to establish a non-hierarchical pack. Essentially, the project tests scientific findings through art practice, and concludes that it is possible to learn about, and relate to the cohabiting animals when empathy and equality is engaged instead of dominance. A concluding public event was staged at KARST (Plymouth) following the workshops on 6 November 2016 where all participants, human and dog, performed as collaborators. Analysis of Be Your Dog was presented as a video paper, ‘Collaborating Animals: Dog and Human Artists’ presented at Animal Intersections, at the 7th AASA Conference at University of Adelaide, 3-5 July 2017. Reworked video footage from the public event included in the conference’s accompanying exhibition at Peanut Gallery and Nexus Arts, Adelaide, 4-16 July 2017. Additionally, he paper, ‘Collaborative Animals: Dogs and Humans as Co-Working Artists, was presented at the conference ‘Living With Animals/Seeing with Animals, 22-26 March 2017 at Eastern Kentucky University. The project was housed by KARST, Plymouth, accompanying photographs by Dom Moore.