• Fabrica-tactilis, skilful production, structure - Fabric that may be touched, tangible

      Wells, Kate; Poundall, Robyn; University of Derby; David Nieper Ltd. (26/11/2014)
      Over the last 15 years, many of the tactile and haptic qualities of printed textiles have been abandoned for what is considered a fast and smooth digital solution through the increased popularity in using digital media as a the main source for design inspiration, conception and manufacture. Much of the creativity and qualities produced by hand processes and non digital techniques that in past produced tactile surfaces within a material via the creation of different densities or composite multiple layered structures, have in many cases been replaced with optical digital illusions of texture with the actual tactility of the material being lost or compromised. This paper outlines current collaborative design research that explores the uniting of haptic processes within cross-disciplinary fields of textiles, ceramics and glass. The results are the creation of a variety of materials both soft and hard. 3D-Soft is the result of natural and man-made manipulated fabrics that exhibit three-dimensional textured, puckered, distorted and translucent/transparent effects. That with further cross-disciplinary experimentation, the tactile textural qualities of fabric are transposed into hard surfaces: 3D-Hard, through different stiffening, ceramic and glass processes. The main aim of the research being the creation of unique exciting materials ‘Fabrica-Tactilis’ that develop and unite haptic skills with touch, exploring contradiction and harmony by embracing both traditional and non-traditional textile processes and alternative craft techniques for example ceramics and glass within their manufacture.
    • Family activist network performance

      McCloskey, Paula; University of Derby (2014-01)
      FAN is a group of 35 or so adults (academics and artists) and children, based across the UK (Cambridge, Chichester, Edinburgh, Lincoln, Liverpool, London, Norwich and Sheffield). FAN was formed to consider family life and climate change through a variety of art activist formats. Since its formation in 2014 FAN have exchanged slow mail correspondence, created a reading group This Changes Everything (Naomi Klein 2015), held recruitment events (Two Degrees festival, Artsadmin, London 2015), protested together (Time to Act, London, 2015; D12 Redlines in Paris for COP21, 2015), engaged in creating family performances showcase (Plas Caerdeon, Wales 2016), commissioned a science lecture about James Watt and the onset of Anthropocene Epoch (Glasgow Green, 2016), engaged in a themed discussion on Future Scenarios (2016), visited the site of the Happisburgh footprints, created Photo Books of FAN encounters (2015 – ongoing) and debated on FAN email list (2015 – ongoing). 'a place of their own' has been a member of FAN since 2014 and participated in all its performances and events, please see website links for more information.
    • Family Entanglements

      McCloskey, Paula; Vardy, Sam; University of Derby (2018-11-02)
      ‘Family Entanglements’: As the collaborative arts practice ‘a place of their own’ we were invited to deliver a performance 'Lab' at the Social Art Summit – an Artists-led 2-day conference Sheffield, 1, 2 November 2018. For this Art Council funded conference, over two-days artists from around the country, as well as international speakers came together to share practice, showcase work and explore what it means to be making art through social engagement right now. As one of 8 ‘labs’ we ran a session called ‘Family Entanglements’, the invitation for participants read as follows: ‘As a reflection of their own family practice they will facilitate collective activities based around string games and Cat's Cradle, whereby delegates will explore critical themes including: Radicality in the family and your practice; home as a site of arts practice; maternity as practice; alternative futures, new intergenerational relations and making different forms of kinship. The lab sought explore the research questions of ‘how living with and raising children might offer ways to think about alternative futures in the face of economic, social and environmental crisis? and how the 'family' might be a site of resistance to dominant ideologies?’
    • FAN Mothers in Our Fragile Social Network against Climate Change

      McCloskey, Paula; Duffy, Clare; Zvensden, Zoe; Chicago, Jennifer; Hawkes, Jodie; Townley, Anna; Lovett, Leah; Šimić, Lena; University of Derby; Sheffield Hallam University (York University, Toronto, 2021-10-05)
      This email chain conversation between seven mother/artist/activists written over a period of one year between January 2018 and January 2019 reflects our various family lives and attitudes to climate change at that time. The authors identify as belonging to the Family Activist Network, and consequently, to the environmental movement in the age of the Anthropocene. The piece addresses: (1) The many contradictions, paradoxes, hypocrisies, and incongruences inherent trying to be mother/artist/activist; (2) Feminist solidarity; (3) Questioning if it is possible to reconcile activism with maternity, under what circumstances, and according to what models of activist/maternal practice; (4) Intergenerational injustice; (5) The question of acting/not acting; (6) The question of paying attention – noticing how you live and how you create the conditions for another human to live; (7) Other life – other humans, non-humans and the earth, and; (8) The spectacle of mothers and children in protest – the whole performance of mothering in the public realm, at rallies, marches, and art-activist events.
    • Feature: Angela Bartram - 366:366 (eventually; animated; finally), 2016-2020

      Bartram, Angela; University of Derby (Invert/Extant, 2020-09-15)
      For the leap year of 2016 I exhaled on an etching plate every day, at roughly 8pm. 366 breaths layered on the same surface, in the same place, and at roughly the same time. Each breath took about four seconds to lay on an A5 zinc etching plate. So, roughly 1464 seconds in total, or just over twenty-four minutes, or a third of an hour…that is a lot of breath. I had worked with the mouth as an instrument for drawing and object making in performances and other ways for years, and this work is part of that practice. The mouth, what some theorists would term a vulnerable orifice, made useful and invulnerable (perhaps) through creative process. But surely this was doomed to failure, for how could breathing produce an image in this way? Really, I didn’t care. For this was an exploration of repetition within process, the mundane within the order of making.
    • Feel it in my bones: Composing multimodal experience through tissue conduction

      Lennox, Peter; McKenzie, Ian; Brown, Michael; University of Derby (Les éditions de PRISM, 28/09/2017)
      We outline here the feasibility of coherently utilising tissue conduction for spatial audio and tactile input. Tissue conduction display-specific compositional concerns are discussed; it is hypothesised that the qualia available through this medium substantively differ from those for conventional artificial means of appealing to auditory spatial perception. The implications include that spatial music experienced in this manner constitutes a new kind of experience, and that the ground rules of composition are yet to be established. We refer to results from listening experiences with one hundred listeners in an unstructured attribute elicitation exercise, where prominent themes such as “strange”, “weird”, “positive”, “spatial” and “vibrations” emerged. We speculate on future directions aimed at taking maximal advantage of the principle of multimodal perception to broaden the informational bandwidth of the display system. Some implications for composition for hearing-impaired are elucidated.
    • Finding lines

      Shore, Tim; University of Derby (Derby Museum and Art Gallery, 15/07/2017)
      A series of 10 drawings and one video (titled Faint/Feint) that explore process, performance and gesture, selected for the group exhibition ‘Finding Lines – A Celebration Of Drawing And Mark Making’ at Derby Museum and Art Gallery. The ten drawings for Finding Lines are not drawings, they are carbon copies made with small sheets of typewriter carbon paper placed underneath the paper that will be drawn on, and on top of a second sheet of paper which receives the impression of the drawing. Each drawing is made of a series of straight lines drawn with the aid of a set square. Faint/Feint privileges the most basic elements of drawing; pencil, line, paper and tool. The carbon copy is an ‘automatic’ record of the corporeal (and cognitive) act of drawing: it captures all the mistakes I make; the slips, smudges, misalignment and movement - and replicates them. The drawing is a poor performance of an activity that could easily be automated. I have approached drawing as a corporeal exercise that relies on concentration and stamina and which is always imperfect because in doing it I can never match the precision of the computer (although the carbon copy nods to the perfect copying of the photocopier and the printer). Faint/Feint 10 x A1 carbon copy drawings, 60gsm newsprint.
    • Finding the artist: The role of the feminist detective

      Forde, Teresa; University of Derby (MAI: Feminism and Visual Culture, 2020-10-05)
      This article considers the ways in which the feminist detective can investigate an artist such as Marion Adnams who is relatively unknown and about whom there has been little public knowledge. It also considers the ways in which arts practice can function as a form of engagement with the artist and the definitions involved in exploring Marion Adnams life and work. The feminist perspective recognises the ways in which particular and traditional art history narratives incorporate women’s art and the ways in which Adnams can be recognised as a both a part of this narrative and exceeding beyond it. The process of constructing a video installation emphasises engagement with Adnams’ work and the extent to which the artwork and the artist can be understood to relate to one another through this process of detection.
    • Fish Market, Lagos: Artist Pages and Supporting Statement

      Baker, Steve; University of Derby (Routledge, 2021-11-30)
      This set of artist pages presents photographic work undertaken in Portugal in my capacity as artist in residence for the Animal remains conference. The short supporting text discusses the images in the context of an influential recent call for artists to desist altogether from the pictorial representation of animal bodies, and of the contrary case made by other authors for the ethical necessity of attentive looking.
    • Five heraldic animals (for Eduardo Kac)

      Baker, Steve; University of Derby (Taylor and Francis, 2015-03)
    • Flexible feedback project

      Draycott, Ann; Higson, Rob; University of Derby (21/10/2015)
      The project aimed to create a workflow which allowed tutors to provide students with access to feedback they could flexibly use to support their learning at times and in place of their choosing. It was envisaged that this workflow, or aspects of it, could be adapted by tutors within the University of Derby and beyond it to meet their needs and those of their students. A key consideration of the project was the need to create visual resources for students who worked in a very visual medium. Our aim was to create resources and processes which were accessible to them in terms of their individuals learning needs and abilities. The project was shortlisted as a finalist for the 2014 MEDEA awards in Brussels at the Flemish Ministry of Education Headquarters. It was selected out of 237 entries and the project was one of the 8 finalists from 29 countries.
    • Focus Stacking: Extending depth of field in close-up photography

      Bryson, David; University of Derby (Royal Photographic Society, 2016-01)
      When taking close-up photographs, or indeed any photographs, there is a delicate balance of factors that allow us to limit or to maximise the parts of an image that are in focus; Aperture, Lens focal length and Subject distance. The choice then depends on what you are trying to show do you go for a larger working distance with a telephoto lens versus smaller working distance with a wide angle lens to gain the detail and depth of field you need. Then how far do you stop down your aperture? If you use smaller apertures that may not be getting the best out of your lens. This is where digital techniques to extend depth of field come into use with focus stacking.
    • For We Are Made Of Lines

      Jones, Rhiannon; Kelly, Traci; University of Derby (University of Melbourne, 2020-09)
      As a poetic exploration of the collaborative practice of Kelly + Jones (2014-2020), this article critiques processes employed by the artists to excavate writing and site with attention to aspects of sound. The sites of investigation include a disused quarry in Cambridge, UK . The use of the chalk quarry creates a unique ambience/ambiance – which can be considered theoretically in relation to phenomenological, dialogical, and post- feminist perspectives, in tandem with a partnered site of an old staircase with integral chalkboard in a former inner-city Victorian school. The site-specific nature of the investigation requires that environmental ambience is noted and processed through the body as a material quality instrumental in rendering form. The material ambience of site is also embroiled with the cultural ambiance of received convention and practices that seep into diverse modes of expression through and off the body that is inescapably conditioned by the translation of social relations. Also to consider is an inter-relational translation from environment to tissue where cultural memory embeds in the yet-to-emerge gestures of the anticipated. Throughout this text ambience is a reference to physical and sensed qualities and ambiance to the cultural uptake that conditions individual subjectivity within its political realm. The gouging and scarring of the landscape where chalk has been blasted, hacked and removed, and the striking of surfaces inherent in chalk on board in regimes of education and enculturation chime with the violent and strident nature of writing a subject into being, even more evident in acts of resistance. The sifting of dust particles into the lungs of workers and educators are a reaction inducing irritant causing bodies to spasm in coughs and soft tissue to mobilise and swell. The artists value this material and cultural aspect as a site of troublesome proliferation on the side of the feminine. The collaborative writing offers a glimpse into the artists’ questioning of the material world of the human body and the spent bodies of marine-life which create chalk deposits, in order to explore the dialogic relationship of the body and its ambiant hauntological qualities . Though the project holds personal resonance and subjectivities for the artists tethered to site intimacy, in this instance they opt to share their research through the distance of third person. Through the culturally received dominance of the masculine empirical voice this could be viewed as a replication and appropriation of a hierarchical voice-as-trope rather than a subversion towards the non-binary. The artists have different intentions for use. By putting aside the intimacy of the first person the artists intend to draw attention to the there-yet-not-there qualities of the hauntological scene and to perhaps open a space where the reader can insert their own subjectivity as they wander through a newly encountered and perhaps dense terrain. A reader may find their own ways to enter the unoccupied space of first person and disrupt the flow of words and events, altering the course of the article within their individual encounter. Similarly, the practical research around writing resists using text because of its inherently hierarchical disposition in terms of gender, race and class codes and exclusions. By refusing to offer decipherable text in the practical investigations the artists set up an alternative provocation utilising grammatical signs and symbols. By tampering with the form and avoiding the defining sense of a word they aim to resist boundaries and enable ‘the structural enigma which inaugurates the scene of writing’. (Castricano 2001) As part of their investigation into the site of writing, this essay creatively contemplates the role of the body as an instrument for making and storing sculptural sound documentation to excavate work based on re/calling, un/calling, production and erasure within phenomenological experience. Kelly + Jones embrace the unknown within research-creation as the ground for potentiality in thinking around chalk’s materiality and the cultural significance of mark-making as a condition of writing a subject into being. The collaboration probes how this might be distilled into enmeshed visual and audial practice through creating a micro-ecology of sound-body interventions. Through their improvised gestures ambiance is situated as a dis/embodied oscillation that only exists in the moment of interplay between artists and site, which the artists consider live ‘jamming sessions’ within a responsive and improvised practice. The unforetold of improvisation and the discursive nature of ambiance necessitate the grapple of emergent subjectivity and its possible transgressions. The relationship between sound-body-landscape blurs the lines of formation of ambiance, as a site of re/action. Ambiance’s unfaithful and generative translation into gesture resists ontological distinctions and casts shimmering generative interplays. The exploratory works in the quarry consider the artist as instrument and sensitised corporeal recording device, the pit as echo chamber, and the artists’ interventions in the site as soundscapes – visceral, live scores that are embodied. The positioning of the artists’ bodies as a point of resonance in building sculptural soundscapes constitutes a fragile and precarious interplay with the site. This evolving body of work is a series of multimedia-based artefacts and live works that explore the contextual process of writing through the body and the writing of sound-as-site into being.
    • Foreward

      Baker, Steve; University of Derby (Lantern Books, 2015-03)
    • Forge

      Bosward, Marc; Shore, Tim; Poynton, Stuart; University of Derby (2014)
      Site-specific projection pieces exploring the architecture and history of the Derwent Valley Mills. The ‘Forge’ installation was part of the DerwentWISE ‘Pulse’ project and was installed in partnership with Quad, Derby. The collaborative work will be developed further through planned engagement with a range of national and international locations and historical narratives, with particular reference to industrialization and the societal impact of technological development.

      Harris, Philip; Marmalade, Gemma; University of Derby (FORMAT, 2019-03-15)
      The conference for FORMAT19, 15th March 2019, was hosted by University of Derby and the Digital and Material Artistic Centre. In place of the single stream events that had taken place in previous years, the organisers arranged three parallel streams with over 30 contributors, many from outside the UK, and 200 delegates. This dramatic upscale in ambition produced the largest scale FORMAT conference in the history of the University of Derby. The selection of papers and presentations drew upon an open call by the organisers with the inclusion of selected participants in the FORMAT19 festival with rigorous review by both editors. The overall form and structure of the conference was developed, managed, and realised by the editors with a schedule of three streams titled in relation to the evocative theme of the festival, Forever//Now, as follows: 1. Myths, narratives and histories 2. Archiving the future 3. Territory, identity and memory Specific contributions by academics from the University of Derby/D-MARC: • Marc Bosward provided a critical examination of digital montage as a means to visually negotiate issues of politics and history. • Gemma Marmalade’s (ed.) paper presented her performed intervention on the delivery of her paper for the project Green Fingered. • Philip Harris (ed.) presented a philosophical examination of obsolete media and its potential to examine issues of politics and social concerns. • Alys Russell provided a critical examination of domestic photography and its relationship with locative memory. • Dominic Chapman’s paper examined the collective mythologies and visual tropes employed by the Leave Campaign in the UK Referendum to leave the EU, 2016. • Mark Hall presented a critical examination of the Stephen Shore’s work American Surfaces. • Stephanie Rushton discussed the philosophical context for her project The Archaea, centred around ecology and intelligence in nature. The conference, in its drastically enlarged scale and scope, provided a highly valuable source of new knowledge across a highly diverse range of ideas, themes and issues, representing the diverse range of practices and themes in contemporary research on photography.
    • ‘The Found Footage Composite: History, Hybridity and the Animated World’

      Bosward, Marc; University of Derby (02/09/2016)
      The paper will describe a practical methodology designed to deploy found footage, animation, digital compositing and special effects techniques to critically evaluate the ontological status of found footage in reference to materiality and truth-value. In this framework, the construction of non-real spaces that synthesise animation and found footage are explored for their potential in describing alternate histories with regards to memory and ideology. How can the material aspects of found footage be deployed within spatial and temporal collage films that challenge linear notions of memory and the past?
    • Fractured pasts: Found footage collage and the animated documentary

      Bosward, Marc; University of Derby (02/06/2017)
      The paper will present a body of practice-led research within experimental documentary and animation that interrogates the use of found footage as a historiographical strategy. The research examines the capacity of found footage collage in articulating the layered temporalities present in the formation of collective recollection. How can the materiality of found footage be deployed within spatial and temporal collage films that challenge linear notions of memory and the past? The methodology draws from visual ethnography with regards to intersubjectivity, multivocality and the immaterial aspects of human experience. The approach aims to challenge notions of unitary meaning, objectivity and truth in historical representation. Can the fragmented, hybrid aesthetic of the moving collage render the partial and irregular experience of remembering, evoking the contingent and furtive conditions of personal and collective pasts? The work deploys appropriation strategies that decontextualize and recontextualise found footage as a method of ideological interruption, releasing the mutable, multiple meanings that accumulate and shift in the confluence of competing discourses. The paper will describe temporal structures that privilege simultaneity, overlap and layering in constructing unstable images that foreground a dialogical conception of the past. How can found footage collage and animation, as a historiographical practice, expand the language of non-fiction films that address memory and time?
    • Fragile cartographies of border fictioning: a place of their own

      McCloskey, Paula; Vardy, Sam; University of Derby (2018-09)
      Our work operates between contemporary art and spatial practice and we explore the new forms of research and critical production that this space and overlap allows. The Eile Project is a visual art / research project that uses the subjective, spatial, political and imaginative concept of borders/bordering to respond to some immediate political/environmental challenges. The project is sited on the geo-political border between Ireland and the UK; we are a border family as Paula is from Ballyshannon, (Eire). She grew up between Ballyshannon and Enniskillen (NI), as well as living in England, and has traversed the Irish border her whole life. We now return to these places from Sheffield, UK with our own children, each year; the border thus remains at play across generations, time, and space. The context of the Irish/UK border condition is now given renewed prominence within the maligned ‘Brexit’ negotiations which threatens the peace process on the island of Ireland. We propose to show a screening of our audiovisual film, The Territories of Eile, which offers a speculative fictioning in which Eile makes and unmakes the borderlands; passing through them as they pass through her. Eile’s embodied performance gestures utilise organic and inorganic materials on the Irish/UK border territory to distort and create alternate ways of being. The Eile Project offers an interrogation that uses human-bodies and non-human bodies to create a world beyond the present, collapsing durational moments to create a fiction that might impact transformatively on the real. After the screening (4 mins) we would present a short paper discussing the ideas behind the film and their relation to the urban question. We are concerned with understanding how autonomous territories are made, undone, and remade anew - territories as spatial, sonic and social processes in which power, rather than being fixed and imposed as in sovereign borders (power as potestas), can emerge from the site, from the new border imaginaries, in a process of becoming - power as potentia.
    • The Frequency of Trees

      Locke, Caroline; University of Derby (Yorkshire Sculpture Park, 2020-09-21)
      This is a book published by the Yorkshire Sculpture Park (YSP) which has an introduction written by John Newling, a pioneer of public art with a social purpose. The Frequency of Trees is an interactive sculpture which translates abstract sound and frequencies into engaging encounters with participants. The artwork is part of the YSP Open Air Collection and aims to shift how people think about their relationships to their own physicality and movements in nature specific to the YSP Parkland. The book discusses these relationships, as it follows the seasons at the park and four of the trees which the artist tracked and gathered data from in order to make The Frequency of Trees.