• D.I.Y: Hydrophonics.

      Locke, Caroline; University of Derby; University of Chichester (University of Chichester, 2015)
      D.I.Y Too is a new book about “do it yourself” performance, with contributions made by over 30 arts practitioners and collectives. It's a sequel of sorts - or rather; a continuation - to a recent text that platformed a growing community of voices in theatre, art, dance and performance making. Its aim is to articulate and contextualise an ethos and practice within contemporary art called "DIY" theatre and performance. This book is a text that provokes, prescribes, instructs, argues, plays, advises, promotes and describes. Its emphasis is on how theatre makers can encourage and evolve performance making by sharing their theories and practices, to help empower more artists to engage with this way of working. Critically (or theoretically) this book addresses a wide range of perspectives on "DIY" theatre and performance and identifies key axioms and dichotomies between ethos and style. Contributors: Accidental Collective: Pippa Bailey: Simon Bowes: Daniel Bye: Karen Christopher: Helen Cole: Dirty Market: Fictional Dogshelf: Emma Frankland and Keir Cooper: Gob Squad: Donald Hutera: Mamoru Iriguchi: Dan Koop: Lila Dance: Caroline Locke: LOW PROFILE: Rachel Mars: Harun Morrison: Hannah Nicklin: Joseph O'Farrell (JOF): Paper Cinema: Patternfight: Plastic Castles: Sh!t Theatre: Sleeping Trees: Sleepwalk Collective: Tassos Stevens: Shamira Turner, Little Bulb: Uninvited Guests: Hannah Jane Walker: Melanie Wilson: Greg Wohead: Caroline Wright and Helen Paris.
    • Data floes: Polar science as catalyst for the arts

      Locke, Caroline; University of Derby (British Antarctic Survey, 2016-10-20)
      In the Autumn of 2016 Locke was invited to participate in a half day workshop where artists and scientists talked together about how they use climate and environmental data sets to explore issues around the communication of science. The workshop took place as part of The Cambridge Festival of Ideas and was an opportunity to meet and share information with researchers from different disciplines whose work involves creating awareness and understanding of nature and science. Connections were made with climate scientists. Consultation began here with Dr Gareth Rees (Cambridge University) and his research into remote sensing techniques and the monitoring of the dynamics of Arctic glaciated and vegetated terrain. This later became an important connection. Locke worked in consultation with Gareth, who facilitated her links with The Norwegian Polar Institute and The Arctic University of Norway in 2020. Data floes: polar science as catalyst for the arts ended with an evening public event as part of The Festival of Ideas.
    • Dead, dead, dead, dead, dead.

      Baker, Steve; University of Derby (Routledge, 2014-04-24)
    • Deep Space

      Crossley, John; University of Derby (Sound on Sound Ltd., 2015)
      For this ambitious project, John Crossley had a full live band play through a 16-speaker system, to create an immersive performance inspired by the Rosetta spacecraft’s journey through the solar system.
    • Defining contributions: inspiration driving original research.

      Abbas, Jabbar; Blood, Kate; Coulbert, Esme; Dallabona, Alice; Gamble, Rebecca; Roddis, Melissa; Silcock, Neil; Wijetunge, Nishan; Nottingham Trent University (Nottingham Trent University, 2012)
      Defining Contributions: Inspiration Driving Original Research was a postgraduate conference held at Nottingham Trent University on 18th May 2012. This conference was part of the Research Practice Course (RPC) in which students engage with research methods, theories and philosophies alongside their individual PhD research. This conference was organised by the third year students, papers were given by the second year students, and posters were presented by the first year students. This conference also included a paper from guest speaker Julius Ayodeji and was open for attendees from across the University. Publishing articles and presenting conference papers is an important component of any PhD programme. In view of this, the aim of this conference was to provide students with the opportunity to present a piece of useful material linked to their research in front of an audience within the friendly framework of the University, before embarking on the wider world of national and international conferences and publishing. This conference encouraged new multi-disciplinary papers about the originality, motivations, inspirations and contributions of students research.
    • Defining the female artist: Marion Adnams and surrealism

      Forde, Teresa; University of Derby (07/03/2018)
      Marion Adnams’ work can be placed into different periods and subject matter and curating her work involves making decisions about such criteria. But to what extent are wider grouping useful in defining an artist’s work and does placing Marion Adnams in the context of Surrealism offer any insights into her practice? The relationship of women artists to Surrealism and the female/male dichotomies within the movement will be considered in relation to the ways in which they resonate with motifs and themes within Marion Adnams’ own work. French Surrealism was largely envisaged as a collective movement, encapsulated in its British counterpart in the work of artists such as Nash and Agar, in painting, found objects and poetry, which may provide an understanding of Marion’s individual yet surrealist approach to her work.
    • Deformed Electronic Dance Music

      Vandemast-Bell, Paul; University of Derby (2016)
      This performance investigates the ways in which improvisation and digital repetition can be brought together to produce what I have termed ‘Deformed EDM (Electronic Dance Music)’. Digital repetition is generally employed in EDM performance to create fluid transitions between predetermined loops synchronised to a global tempo. I am interested in what lies beyond the boundaries of conventional 4/4, loop-based EDM performance and new modes of live interaction beyond the norm. In the performance I explore the tension between musician/machine and control/unpredictability. The performance is made possible by nativeKONTROL’s Clyphx MIDI Remote Scripts for Ableton Live and a custom Ableton Push Controller mapping, which allows the user to extend and rework the relationship between musician and machine. In extending the creative possibilities of commercial devices beyond what they offer 'out of the box', novel forms of interaction can be uncovered and new musical terrain observed. Original electronic source material is reimagined through real-time loop manipulation to create synchronous/asynchronous rhythms and textures, evolved with effects and dynamic processors.
    • Demons of dust and Gods of boiled rice: Shamanism and ephemeral ritual art in the Himalayas

      Nicoletti, Martino; University of Derby, School of Art and Design (Assumption University, Bangkok, 2012)
      Some recent researches carried out in the fields of Himalayan ethnography and anthropology of art have enlightened about the very artistic and aesthetical elements related to the shamanic rituals of this specific area. In this context, some specific ritual artefacts – comprising drawings and aniconic three-dimensional objects created according to the personal imagination of the shaman and specific rules handed down orally – play a central role in most shamanic liturgical séances. These artefacts are commonly employed as temporary receptacles for the invisible beings evoked during the ritual, as well as a symbolic representation of the shamanic cosmos. In accordance with their specific functions and meanings, these ritual objects – usually made of perishable material such as coloured powders, paper, wood, fruit or comestible paste, appropriately moulded – are very often unequivocally characterized by their ephemeral status: created at the beginning of the ritual performance they are usually destroyed during the execution of the rite itself or at the very end.
    • Derby Voice: Creative Place-Making

      Jones, Rhiannon; McMahon, Daithi; University of Western Australia (Common Ground Research Networks, 2021-06-16)
      The artistic research project Derby Voice engaged 300 young people from areas of deprivation in Derby and at risk of exclusion from education. The methodology used S.H.E.D to create a co-designed site-specific installation at Derby Cathedral. It provided young people with opportunities to create work for a public context, to talk about their city and issues exacerbated by the COVID pandemic in the UK; such as BLM, education reform, employment, mental health and well-being. The research identified key barriers including the lack of cultural integration outside of school time in the UK and the impact on financial or family support. Derby Voice highlights the value of devising an artistic and dialogic methodology. The research’s impact is noted within UK contemporary social contexts. It enhanced wellbeing, widened access and increased cultural opportunities for young people in Derby. It shifted thinking about formal education settings and redefined the way young people’s voices are understood and can influence policy and act as a call for change. The research highlights the benefits of temporal installations as cultural and consultation spaces for stakeholders, public and policy-makers to engage directly with youth voice, through creative place-making by young people. It provided essential life skills resulting in social mobility and widening access to the arts. It disseminated both the design and impact of the research, proposing that dialogic methodologies are an instigator for change in order to enable and empower young people. The research actively contributed to the cultural offer in Derby and impacts of socially-engaged art.
    • Derbyshire and pottery

      White, Christine; University of Derby (Ruthin Craft Centre, 2014)
      When the opportunity arose for our research team in ceramics to put together some short essay for this catalogue we were certain of one thing: we needed to be able to express a range of opinion and approaches to Emmanuel Cooper's work. What was most important to us was that for his work as a potter was the centre of our thinking and from that we would attempt to present a snapshot of his curiosity with life that informed his work as a maker.
    • A design journey across time and five nations

      Wells, Kate; University of Derby (2019-09-19)
      ‘Itajime gasuri’: A design journey across time and five nations. A design journey of twenty years and five nations starting in Japan to Thailand then back again. This paper discuses a journey of the textile patterning technique itajime gasuri. How it evolved from an ancient craft/dyeing practice through digital intervention to a process reinvention, one that retains some of the qualities of original process but creates fabric designs suitable for the 21st century consumption. Across the World, the ancient fabric patterning technique of ‘board clamping’, has been constantly reinvented, but over the last few centuries its traditional use has declined to almost extinction. Known by different names depending upon the country of origin, the most common today is the Japanese term Itajime, but an older word Kyokechi is sometimes used and a variation Itajime gasuri, invented in 1837 is a patterning technique for yarn provided an ‘ikat’ effect design. But to the authors knowledge, by 1996, the technique, Itajime and Itajime gasuri are no longer employed commercially with the exception of the Japanese craftsman, Norio Koyama, who was the only remaining craftsperson in Japan to employ the traditional process of Itajime gasuri and Itajime in a commercial manner. In 1996, Norio Koyama made a gift of eight boards to the author, this much-prized gift has ensured that the knowledge of such an ancient technique continued to be developed as part of practice- based research into the 21st Century. As digital technologies evolved, these new technologies were investigated to find new methods of creating boards or reproducing the original fabrics produced that retained the qualities of original pieces but could be replicated. Initially through digital copies of the original designs; the exploration of CAD/CAM production techniques for new boards to finally a collaboration with ‘Turnbull Prints’ in Thailand, who collaborated in digitizing an original dyed Itajime fabric and digitally printing a warp which when woven produced a new hybrid fabric that reflects the qualities of the original Itajime gasuri technique. The excitement occurs when a process initially invented in 1837 to copy and increase production of the labor-intensive textile resist dyeing technique Ikat can be once again employed to create designs that if digitally printed onto a warp will, once woven, produce a ‘Ikat’ effect: A complete cycle of creativity and innovation created and over 20 years later, a piece of this fabric was returned as a gift to Norio Koyama in Japan to complete the collaboration cycle and say Thank you.
    • Designing a new documentary landscape: A renegotiation of documentary voice through animated collage

      Bosward, Marc; Bevan, Greg; University of Derby; University of Aberystwyth (Intellect, 2013-12)
      Documentaries represent issues and aspects of the socio-historical world. They do so through a selection and combination of audio and visual components. Inevitably, this practice makes intrinsic claims about documentary’s ability to represent the world both accurately and reliably. Facts, information, balance and reliability are the bedrock of documentary vocabulary. Comparatively few practitioners have genuinely interrogated the veracity of their craft; authenticity, evidence and objectivity remain central to the language of their practice. As the result of a mediated process, a documentary film is, at best, a crafted version of reality and its conventions are designed and developed to convince audiences of the authenticity of their particular representation of the world. Documentary’s traditional journalistic and pseudo-scientific status has hampered its development as a discursive art form capable of exploring a much broader sphere of human experience. Using a selection of still images, this article aims to contextualize, reflect on and illuminate the short, animated documentary Fforest (2009) by G. Bevan and M. Bosward. Drawing on the practice and principles of collage, the film seeks to expand the language of documentary production by deliberately undermining traditional approaches to knowledge, authority and fact. It explores potential new terrain for documentary by generating a non-realist, visual aesthetic that is not bound to traditional discourses of ‘sobriety’, whilst reaffirming the documentary as a composition which must be designed and assembled, in which authorial voice must be constructed rather than simply stated, and in which meaning is not necessarily explicit.
    • Designing uncertainty for generating audiences’ participation

      Penna, Xristina; University of Leeds (02/11/2017)
    • Destroying creativity

      Lennox, Peter; Wilson, Chris; Brown, Michael; University of Derby (23/06/2016)
    • Developing and sharing your CPD portfolio.

      Bryson, David; University of Derby (2012-09)
    • The developing professional

      Bryson, David; University of Derby (Informa Healthcare, 2014-10)
      There is an expectation that we will keep on learning and developing as practitioners. That we will grow in confidence and expertise moving from just qualified to expert in a seemingly smooth transition. Unfortunately like many things in life developing as a professional is not that simple, this paper looks at how we develop as learners and professionals and some of the complexities behind many a learning journey. There will be a number of learning activities attached to this paper some will be appropriate for individuals to undertake, others are more aimed at managers and senior managers and others could be used as themes for departmental discussions or even regional meetings.
    • Découverte de l’artiste’ (discovering the artist): Finding Marion Adnams through her work with a focus on ‘Infante égarée

      Forde, Teresa; University of Derby (2018)
      This video installation expresses the process of research Marion Adnams' paintings and the paper model of Infante égarée in particular. A version of paper model from the original painting has been constructed and animated in order to understand the structure of the original paper doll and to emulate the movement that is implicit in its structure. The animation was then superimposed onto the original painting. Adnams described the figure as lost and wandering in the forest and this sense of dislocation is captured within the twisting movement of the figure and haunting soundtrack. The title of the painting is also restored to Adnams’ preferred French title. The video is part of the Marion Adnams Project and illustrates an interest in practice as a form of research. The video installation formed part of the ‘Marion Adnams: A Singular Woman’ retrospective at Derby Museums and Gallery (Dec 2017-March 2018).
    • Dialects of design education: Exploring an appropriate approach to contemporary interiors in historical buildings.

      Slabbert, Barend; Jordaan, June; Cape Peninsula University of Technology (Leadership Forum on Education, 03/12/2013)
      Due to economic adversities brought on by the global recession, rapid urbanisation of the developing world and the need for sustainable design, a pressing need has arisen to incorporate appropriate and meaningful contemporary interiors in historical buildings. Initial informants of this study identified a need for interior design students to develop awareness and suitable skills to design such regenerating contemporary interiors and that interior design curricula include these critical-analytical skills. This paper provides a conceptual framework that hopes to assist students to achieve the desired coherence contemporary interiors owe their historical environments through the design of multisensory environments. This will be done by exploring the notions of small narratives, neo-plasticism, stratification and detailing. By probing how these principles may be found in two case studies, Castelvecchio in Verona and Museum van de Caab outside Cape Town, this study hopes to indicate how multisensory environments may be analysed and designed.
    • Digital warp blue

      Wells, Kate; University of Derby (2015-11-04)
    • Digital warp blue part of silken threads exhibition

      Wells, Kate; University of Derby (2014-10-24)