• The ecstatic body: notes on Shamanism and corporeity in Nepal

      Nicoletti, Martino; University of Derby, School of Art and Design (Vajra Publications - Kathmandu, 2008)
      Based on a series of ethnographic and photographic investigations carried out in Nepal between 2000 and 2007, this essay analyses the role of the body and corporeity in Himalayan shamanism, with special reference to the ecstatic condition. The book is enriched by a considerable set of colour photos taken by the author.
    • Education for innovation: exploring the place of creativity, innovation and entrepreneurship in Higher Education

      Wilson, Chris; Lennox, Peter; University of Derby (IETSD, 05/09/2012)
      This paper explores the increasing focus on the value of creativity, innovation and entrepreneurship in contemporary discourse and the challenge that this presents for established educational systems and traditional pedagogy. Through analysis of key literature and exploration od educational case studies, issues of definition and interpretation are explored in parallel with consideration of wider questions of operationalization and systemization. Focusing on how educational systems impact on the development and realization of these capacities through educational processes, the paper develops an overview of key perspectives, highlights examples of variation of interpretation of key terminology and presents points for consideration in the process of educational systems design. The paper concludes that there is an evident tension in educational models related to the definition and development of graduate attributes in particular but that there are educational strategies capabl;e of developing creativity, innovation and entrepreneurship as definable outcomes of learning and teaching processes.
    • An effective pedagogical practise for integrating HIV and AIDS into tertiary education: an interior design case study

      Di Monte-Milner, Giovanna; Gill, A; University of Johannesburg (South African Journal of Higher Education, 2017)
      This article discusses a pedagogical practise used to introduce HIV and AIDS content into an existing Interior Design curriculum from a creative praxis perspective. Curriculum-integration is a key strategy of the Higher Education HIV/AIDS Programme (HEAIDS), which was established to develop and support HIV-mitigation programmes at South Africa’s public Higher Education Institutions. Students within the Faculty of Art, Design and Architecture at the University of Johannesburg engaged in a spatial intervention project that was structured around project-based learning strategies and constructivist teaching values. Students’ proposals were analysed against their ability to promote HIV and AIDS prevention and create appropriate meaning amongst the target group. The paper suggests that the methodology proved effective because it did not require radical curriculum transformation; aligned with existing programme outcomes; and demonstrated potential to contribute to the ‘new literacy of AIDS’ required to counter ‘AIDS fatigue’.
    • EG - Eugen Gomringer in the UK , 2011 - 2012

      Brown, Rodger; University of Derby (University of Derby and Research Group for Artists Publications (RGAP), 2011)
      The publication, EG - Eugen Gomringer in the UK , 2011 - 2012, is a catalogue/artists book in a limited edition of 150 copies. It contains essays by Patrick Ayres, Robert Richardson and Rodger Brown. It was conceived by Rodger Brown to accompany the following events (organised by Rodger Brown): Event 1 - Concept as Concrete Form: Visual Poetry, Texts and Typography Curated exhibition at UoD, including the work of Eugen Gomringer, Felix Gonzalez-Torres, Dom Sylvester Houdard, Robert Lax, Eric Tabuchi, Karl Riha Event 2 - The Saisson Poetry Library, South Bank Centre, London Eugen Gomringer reading his work and in conversation with poet Harry Gilonis. Event 3 - De Montfort University, Leicester Re-hanging of Eugen Gomringer prints in the Francesco Conz Collection. Special opening with Eugen Gomringer. Event 4 - University of Derby, School of Art & Design Public Lecture by Eugen Gomringer, “The relationship of Concrete Art and Poetry” Event 5 - Shandy Hall, Coxwold, York “A day with Eugen Gomringer” Readings, lectures and informal conversation. Event 6 - The Scottish Poetry Library Eugen Gomringer in conversation with poet Thomas A Clark. Event 7 - Small Publishers Fair, Conway Hall, London Exhibition, “Concept as Concrete Form: Visual Poetry, Texts and Typography”.
    • Eile project presentation of research at: a one-day inaugural symposium for the new ‘postcolonial Europe group’

      McCloksey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2019-10-28)
      Invited speaker at the inaugural symposium for the new ‘Postcolonial Europe Group’, University of Kent. ; a place, of their own (art and spatial research collaboration with Dr Sam Vardy) presented our work on the Eile Project.
    • Eile Project: Art and Spatial Research UK/Irish Border (2016 – ongoing)

      McCloskey, Paula; Vardy, Sam; University of Derby, Sheffield Hallam University (2016-07)
      ‘Eile’ (2016-ongoing) is a project by a place of their own (artist duo Dr Paula McCloskey and Dr Sam Vardy. http://hdl.handle.net/10545/623443), that investigates the UK/Irish border and its complex entanglements of colonialism, border-imperialism and geopolitics. The project develops, and enacts, the situated concept/method ‘border-fictioning’ as a resistant practice to colonial nation-state borders, through site-responsive performances on the border, and digital audio-visual films and texts. The research asks how an art and spatial practice on the UK/Irish border can develop the concept and method of border-fictioning, and how it reveals alternative histories, contemporary experiences, and anti-colonial imaginaries that are resistant to nation-state borders. The research is situated in border research (e.g: Anzaldúa, 1987, Walia, 2014) and in literature that explores ‘fictioning’ as an art-practice method (e.g. Burrows and O’Sullivan, 2019; O’Sullivan, 2017; Shaw and Reeves-Evison, 2017); as well as drawing on personal experience of the UK/Irish border. ‘Eile’ involves McCloskey and Vardy conducting a series of experiments along the border, each incorporating elements of site-responsive performance and installation, mapping, walking, and the production of images and audio-visual artworks. The site-responsive performances are experimental, working to create encounters with a fictional character ‘Eile’ (meaning ‘other’ in Irish), who touches, walks, lies, makes structures, sings or keeps vigil at the border sites; the performances are recorded and edited into short films. Border-fictioning is postulated as an original form of study, articulating new methods of analysis, and artistic, geopolitical and philosophical conceptualisations of borders. It contributes to research and practice that resist the nation-state border and position the border-as-fiction, making a significant contribution to the potential of border-fictioning as method. The work contributes to art and geopolitics research, border studies, urbanism/architecture studies, performance studies, and Irish studies. The research has produced two short films (The Territories of Eile, 2018, EILE/LOBSTEREile/Lobster, 2019) 2 peer-reviewed articles , and has featured in exhibitions in the UK and international screenings (UK/Ireland/US), 5 conference papers, and an interview with the curatorial research platform Performing Borders, 2019 see https://performingborders.live/interviews/a-place-of-their-own-march-2019/). Alessandra Cianetti co-founder and curator of Performing Borders states: ‘Paula McCloskey’s long-term engagement with the Irish border is a fundamental, intergenerational, experimental approach to change. The work played an important role in transforming ideas about how borders can be explored and reimagined to create a communal future in these times of division. The project communicated connections, created awareness and a greater understanding among participants by instigating a much-needed artistic dialogue around nation state borders. Getting people to think deeper and differently about human interactions and the landscape and bringing people together from diverging backgrounds.’ Alessandra Cianetti, 2020.
    • Embodying the landscape

      Blackie, Sebastian; University of Derby (The Australian Ceramics Association, 2017-04)
    • The emerging evidence of a time through the emergence of an image through time: a correlation between the early photographic imaging processes anthotypes and natural dyes

      Wells, Kate; Jackson, Jane; Pearson, Emily; University of Derby (2015-03)
      This paper discusses the correlation of Natural dyes with the 19th Century photographic processes ‘Anthotypes’. Exploring the connection between natural dyes and their fastness properties in relation to the success of this early photographic imaging process: The emerging evidence of imagery on exposure to light as the colorants change with time either physically due to fading or heat and moisture. This project plans to document through Alternative photography, Archival evidence of an English Estate’s Garden (the traces that remain), Cotesbach Hall and the Marriot Family Archive from the late 19th and early 20th Centuries through collaborative research between different disciplines: historical archive and 19th Century English horticulture with natural dye colouration and ‘Anthotypes’ an early photographic processes of that period. By exploring the natural plant extractions of Cotesbach Hall Gardens with investigations and experimentation into ‘Anthotypes’ the aim of which, is to understand the symbiotic relationship that the natural colorant (Dye) has with the success or failure of this type of photographic process, the emerging evidence of a time through the emergence of an image through time: Positive exposure over hours/days/weeks. The main objective of the research is to employ archival research and past and current photographic images within a scientific technical methodology normally applied to textile coloration as to Why and How Anthotypes work? Their correlation both colorant and positive have with sunlight, artificial daylight and ultra violet light in relation to quality and colour of images achieved on exposure, with the fastness properties natural dyes /plant extracts employed within the process. The initial literature research undertaken was into the three completely different scientific areas that were being investigated during the 19th Century: English Garden Horticulture, Textile colouration via natural dyes and the success or failure of early photographic experiments using plant juices known as ‘Anthotypes’ developed by Sir John Herschel in 1842. Synthetic dyes had not been discovered or employed within the Textile Industry until 1856 with the discovery of ‘Perkins purple’ or ‘Mauveine’ by William Henry Perkin. This was followed by a practical investigation into the relationship natural colours obtained from plants and vegetables within the gardens of Cotesbach Hall had with their fastness or fugitive properties in enabling the creation of successful positive image using the early photographic technique of the period, known as Anthotypes. The resulting imagery documenting: ‘The Emerging Evidence of a Time through the Emergence of an Image through Time’ A correlation between the early photographic imaging processes Anthotypes and Natural Dyes’.
    • Emilie Taylor's beating the bounds: a citical essay.

      McCloskey, Paula; University of Derby (Bosse and Baum Gallery., 2018-11)
      A critical essay of Emilie Taylor's 'Beating the Bounds' exhibition exploring materiality and maternity.
    • Emmanuel Cooper OBE 1938-2012

      White, Christine; University of Derby (Ruthin Craft Centre, 2014)
      Dr Emmanuel Cooper OBE (HonDFA) 1938–2012 was a distinguished craftsman, writer, teacher and broadcaster. A potter of international standing, his work is represented in many public collections. The author of nearly thirty books, he was editor of Ceramic Review, visiting Professor at London’s Royal College of Art, and a regular broadcaster on television and radio. He was awarded an OBE in 2002 for services to art. Emmanuel’s contribution to the world of ceramics was hugely significant. This will be celebrated with a touring exhibition of his ceramics and a publication looking at his life in pots – produced by Ruthin Craft Centre in collaboration with the University of Derby.
    • The emotional contents of the ‘space’ in spatial music

      Lennox, Peter; University of Derby (International Conference on Music and Emotion, Durham, UK, 2009-09)
      Human spatial perception is how we understand places. Beyond understanding what is where (William James’ formulation of the psychological approach to perception); there are holistic qualities to places. We perceive places as busy, crowded, exciting, threatening or peaceful, calm, comfortable and so on. Designers of places spend a great deal of time and effort on these qualities; scientists rarely do. In the scientific world-view physical qualities and our emotive responses to them are neatly divided in the objective-subjective dichotomy. In this context, music has traditionally constituted an item in a place. Over the last two decades, development of “spatial music” has been within the prevailing engineering paradigm, informed by psychophysical data; here, space is an abstract, Euclidean 3-dimensional ‘container’ for events. The emotional consequence of spatial arrangements is not the main focus in this approach. This paper argues that a paradigm shift is appropriate, from ‘music-in-a-place’ to ‘music-as-a-place’ requiring a fundamental philosophical realignment of ‘meaning’ away from subjective response to include consequences-in-the-environment. Hence the hegemony of the subjective-objective dichotomy is questioned. There are precedents for this, for example in the ecological approach to perception (Gibson). An ecological approach to music-as-environment intrinsically treats the emotional consequences of spatio-musical arrangement holistically. A simplified taxonomy of the attributes of artificial spatial sound in this context will be discussed.
    • Endings are not always completed with a full stop

      Jones, Rhiannon; University of Derby (Intellect Books, 2020-11-06)
      This chapter provides a critical discourse between Jones and Pinchbeck about the making of The Trilogy, offering a unique framework for a dialogue on dramaturgy. The conversation metaphorically occupies the corner points marked out on a stage, balanced on the edges of white masking tape, the threshold of dramaturgy. The chapter explores the dramaturgical twists and turns in the making of The Trilogy. Divided into three parts, The Preview, The Interview The Review and it is presented as a release statement from a contract in a final act of ‘signing off’ The Trilogy. A final act marked in permanent ink honouring that promise Pinchbeck once made never to perform again. The dialogue questions the undulations of dramaturgy and, like the work, the discourse between Jones and Pinchbeck consciously touches at the edges, it is sticky and non-linear. It weaves together fragments of other contributors’ voices in order to float a range of ideas. Of falling in and out of love with the theatre. And a conversation takes place.
    • Engaging in pedagogic and artistic practice in a learning theatre

      Daly, Darren; Barth, Caroline; Shelton, Fiona; University of Derby (2015)
      This is a case study of the Learning Theatre, identifying some of the challenges and successes of its collaborative HE projects.The presentation was part of a conference investigating partnerships between HEIs and Professional Theatres. It gives an overview of some of the learning initiatives that the theatre operates and the concept of the Learning Theatre and then focusses on a case study of the ‘Company Aside’ initiative within this context. The research is focussed on student experience throughout the process and identifies key considerations for the development of the scheme and the partnership.
    • Entrepreneurship for the creative and media arts

      White, Christine; Oddey, Alison; Xia, Fan; Ping, Lu; McNicoll, Sarah; Nottingham Trent University; Shanghai Institute of Visual Art; University of Derby (China Agricultural University Press, 2012)
    • Entries on the L word and true blood.

      Forde, Teresa; University of Derby (Syracuse University Press., 13/11/2018)
      Entires on the finales of television series: The L word and True Blood as part of a collection on finales.
    • Ephemeral art and documenting the un-documentable.

      Bartram, Angela; University of Derby (06/07/2018)
      Concerned with the ephemeral and how it is perceived when lost to the fractures of time, Peggy Phelan suggests “you have to be there.” Phelan states that ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? Archival devices are however, problematic, for how do we suitably record the remains of these artworks that, by their very premise, deny longevity and fixity? This paper interrogates the critical, sensitive and individualized distance necessary when capturing ephemeral artwork to allow it to remain true to intent. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain will be analysed to question if appropriate documents, with the varied and differing demands of works of art, can ever be possible. Based on artworks within ‘The Alternative Document’ exhibition (Project Space Plus, Lincoln UK, 2016, which I curated to include a collection of archival documents reconfigured as new artworks) I discuss the potential for legacy beyond formal and traditional means. Through this, I will suggest how it is possible to move beyond formal academic, artistic and museological conventions when documenting and re-staging ephemeral art.
    • Ethical dimensions to reflection.

      Bryson, David; University of Derby (2011-03)
    • Expanded Studio Project

      Jones, Rhiannon; Primary Studios Nottingham; Pssquared Belfast (2019-01)
      The Expanded Studio Project was a 5 month collaborative initiative between Belfast based artists and artists based at Primary Studios, Nottingham. The aim of the project was to develop external relationships, exchange ideas and explore different modes of collaboration. During this collaboration it provided time for regular exchanges in dialogue between 21 artist researchers - as a research- generation activity they conducted regular sending of images, texts, meetings and sharing of ideas and raising questions between Nottingham and Belfast contributors. A programme of site visits, city tours (Nottingham and Belfast), exhibition and Symposia was designed by the contributors and this was funded by Arts Council England and Belfast City Council. This S.H.E.D collaboration with Declan Proctor focused on SHEDDINGLIGHT, exploring how S.H.E.D can transform into a light installation. The collaboration had two phases, in Belfast the micro-light models were exhibited for a month at PsSquared Gallery in Belfast, to test out the premise for the project. Later on in the process and to time with the symposia, at Primary in Nottingham, the 10x8 S.H.E.D structure was built and installed. A micro and macro construction and play with light and materiality of sheds was created in order to reflect the micro / macro research process between Jones and Proctor from being based near and far at different times of the process. This exploratory series of activities increased their depth in exchange and to share ideas and create new works. Specifically, through this line of research it led to studying how to combine architectural and creative build elements of the design process and combine it with performative strategies for the creation of spaces. As a result it was identified that S.H.E.D is • a place for conversation • a co-creator, working with, and for community • a multidisciplinary space • a social, collaborative and generative space for the sharing of knowledge • a space for shedding preconceptions. For Jones, the Expanded Studio Project specifically provided her with research and development time for the S.H.E.D – by design of the Expanded Studio Project and through these distinct research processes applied to proposal of S.H.E.D Jones was able to test out the conceptual framework for the project within an artistic, public and research network. Working with Belfast based Light Installation Artist, Declan Proctor they spent time researching into the materiality of sheds and its relationship to light. For Jones, it raised questions about scale and form, positionality of S.H.E.D – the role of being inside and outside of spaces and how the notion of a shed as an object was triggering public discourse and engagement and in turn it was becoming a research-generation site of and for itself. It was also driving forward the question of how spaces can be repurposed as sites of curiosity and creativity. Wider research findings on the impact of this project were noted ‘… through the project artists had extended their practice; experiencing collaboration had led to insights about the importance of reciprocity, experimentation, embracing mess and a more conscious appreciation of their process by bringing external dialogue into their practice earlier’. Outcomes – What difference did the project make? For partners (Primary and PS Squared) • Enhanced profile of partners as artist-led organisations with an innovative artist development programme with UK-wide reach. • Improved skills and experience of strategies to support artist-led development to feed and grow future initiatives • Improved knowledge and access to artists, creative opportunities and professional networks in Belfast and Nottingham. For artists: • New ideas and development for personal practice • Improved confidence, skill and experience in approaches to collaborative working • Improved knowledge and access to artists, creative opportunities and professional networks in Belfast & Nottingham (Jo Wheeler, Independent Project Evaluator 2019)