• Gandharva: the magic sound of the Nepali Sarangi

      Nicoletti, Martino; University of Derby, School of Art and Design (Firenze - Bologna: A-Buzz Supreme - Stenopeica, 2013)
      The CD presents a series of sarangi solo executions inspired by a rich repertoire of traditional Nepali and Tibetan melodies, performed by Shyam Nepali: in this work the long-established music of the Gaine of Nepal blends with the very personal experimentation and intimate feelings of one of the most renowned innovative and sensitive musicians in the panorama of contemporary Nepali music. Track 01: Morning bliss Track 02: Himalayan dawn Track 03: Across the clouds Track 04: Waiting Track 05: Footprints in the snow Track 06: Soul’s vibe Track 07: The shaman’s flight Track 08: Melting water Track 09: Beauty revealed Track 10: Don’t turn your gaze behind Track 11: Back from the fields Scientific researches, recording organisation and supervision: Martino Nicoletti; Sound engineering and post-production: Roberto Passuti; Label: Stenopeica – A Buzz Supreme.
    • The GASP project: Guitars with ambisonic spatial production.

      Werner, Duncan; University of Derby (2016)
      The GASP 'Guitars with Ambisonic Spatial Performance’ project seeks to demonstrate alternative ways in which various guitar performance styles can benefit from re-timbralisation and ambisonic spatial production techniques. GASP is an ongoing project where research into guitar performance utilising multiple individually processed string timbres, generated by our multichannel guitars, in conjunction with virtual guitar processing software, and processed ambisonically, provides scope for alternative performance and production techniques; more information on the GASP system at: http://tinyurl.com/GASP-Derby
    • GASP v2: Guitars with Ambisonic Spatial Performance

      Werner, Duncan; Wiggins, Bruce; Box, Charlie; Dallali, Dominic; Hooley, Jack; Middlicott, Charlie; University of Derby: Creative Technologies Research Group; University of Derby: Department of Media and Perfoming Arts (2016-06)
      The 2016 GASP v2 'Guitars with Ambisonic Spatial Performance' project seeks to demonstrate alternative ways in which various guitar performance styles can benefit from re-timbralisation and ambisonic spatial production techniques. This poster was funded through the ‘Undergraduate Research Scholarship Scheme’ (URSS) and presented at the University of Derby Buxton Campus 12th Annual Learning & Teaching conference on Monday 4th July 2016. The poster was also utilised as a contribution to the Creative Technologies Research Group (CTRG) ‘Sounds in Space’ symposium held at the University of Derby on 28th June 2016, at which three pieces of multichannel guitar recordings were demonstrated.
    • Gay gardens: Visual anachronisms and the subversive politics of lesbian representation

      Marmalade, Gemma; University of Derby (Cambridge Scholars, 2020-12-17)
      This paper is a direct transcription of the performed presentation which was delivered at the conference for the FORMAT19 International Photography Festival, for which I acted as co-organiser and co-editor. This presentation supported my exhibition of the work within the festival. The paper given discusses philosophical issues arising around contemporary representation of lesbian and queer identities in context to its historical counterpart. This paper, like the work itself, continues to playfully and precariously position the work in-between the fictional and documentary, challenging the sensibilities of its audience. Additionally, through the performance of the paper, other research concerns of the subversive nature of this practice were transposed. The paper was presented by a carefully rehearsed imposter version of my academic self. I became my own anonymous audience heckler, undermining the validity of the claims in the research, resulting in my/their dramatic removal from the premises. This work sought to test the expectations of conference conventions, the shutting down of institutional challenge and debate, the erasure of the female voice, the imposter sensibilities of academics, and the inversion of authoritative roles. The work was live streamed along with other conference proceedings and documented through photographs as illustrated within the chapter.
    • Gender-based refugee experiences: the role of education, training and arts-based interventions for girls and women refugees

      Skyrme, Sarah; Hogan, Susan; University of Derby (University of Derby, 2021)
      The United Nations High Commissioner for Refugees (UNHRC) has identified that refugee children's participation in mainstream schooling in many refugee host countries (RHCs) is substantially lower than their settled peers and that for girls the gap is even more significant. Furthermore, the gap between refugee girls, their settled peers and refugee boys widens, as girls get older. This is often attributed to social and cultural traditions that under-value girls' education and limit their participation in activities outside the home or immediate community setting. This project has explored the literature around arts-based interventions aimed at girls and young women and the particular affordances and ethical complexities of these.
    • Gendered narratives in Adamantios Diamantis’ The World of Cyprus

      Photiou, Maria; University of Derby (University of Nicosia, 2021-12-16)
      In this paper, I examine Adamantios Diamantis’ painting The World of Cyprus as a representation of a male-dominated society where women are marginalised. Through the analysis of the artwork, I will consider how the work presents a traditional ‘world of Cyprus’ that was beginning to disappear during the post-1960s. I will refer to Diamantis’ work as an example to explore gender relations and socio-political conditions in patriarchal Cyprus. I will argue that socio-political conditions in Cyprus left little space for women to contest patriarchy, to fight for gender equality, or to gain public visibility.
    • Geometries of hope and fear: the iconography of atomic science and nuclear anxiety in the modern sculpture of World War and Cold War Britain

      Burstow, Robert; University of Derby (Routledge, 2014)
      This chapter will investigate the ways in which nuclear science and technology figured in a variety of sculptural forms in early Cold-War Britain. First, it will show how from the 1930s the constructivist sculptors Hepworth and Gabo embraced atomic science, encouraged by contact with the crystallographer J.D. Bernal. Through works alluding to the geometry of crystal structures, they signified optimistic hopes for increased human understanding in a Socialist society. Second, the chapter will examine how the creation and use of atomic weapons led surrealist, social-realist and Pop sculptors to make critical works about nuclear science and technology. From the ambivalent to the satirical, works by Moore, Paolozzi, Peri and Self exemplify a range of sculptural representations of nuclear arms and the disarmament campaign (in which several sculptors and critics were active). Third, the chapter will consider the extent to which the expressionist sculpture of Butler, Chadwick, Clarke, Meadows and others has also been understood to reflect fears of nuclear warfare, despite an absence of explicit ‘nuclear’ signification. As this now familiar interpretation of their imagery has invariably been supported by Read’s famous characterization of it as ‘the geometry of fear’, the chapter will particularly interrogate the intended meaning of his epithet and how and when it became associated with the nuclear threat. Throughout the chapter, sculptors’ and contemporary critics’ explanations of these disparate formal and iconographical engagements with nuclear science and technology will be scrutinized, alongside analysis of how they related to the aesthetic and ideological oppositions of the Cold War.
    • Geopower (Spatial Self Organisation Against Injustice in Sheffield)

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2019-12-19)
      “[G]eopower has no outside, no ‘place’ or ‘time’ before or beyond it: it is the force, the forces, of the earth itself: forces which we as technical humans have tried to organise, render consistent and predictable, but which we can never fully accomplish insofar as the earth remains the literal ground and condition for every human, and non-human, action.” (Elizabeth Grosz, 2017) On the fringes of Sheffield there is an active and ongoing energy for diverse forms of spatial self-organisation as resistance to forms of injustice, specifically around resistance to shale gas fracking, and the struggles of former coal-mining communities, where 35 years after the so-called ‘Battle of Orgreave’, campaigners are still organising for justice. The varied topography of the former colliery at Orgreave is now starting to be reinscribed through new housing and leisure developments yet harnesses complex layers of trauma and politics. Geopower (Spatial Self Organisation Against Injustice) (September 2019), an ‘a place of their own’ (art and spatial research practice of Sam Vardy and Paula McCloskey aplaceoftheirown.org) project, commissioned by Arts Catalyst (artscatalyst. org) as part of their Recentring Attention Programme. The project was a co-inquiry into the complexities of extraction in the ecologically diverse and newly politicised territories of the former Orgreave Colliery, South Yorkshire, as well as anti-fracking protest camps around Sheffield’s old mining communities. McCloskey and Vardy engaged with activists from the Orgreave Truth and Justice Campaign to explore their organisation and annual event, as well aa Women Against Pit Closures, and anti-fracking activists who have established camps to protest new fracking test sites. A multi-format event was devised across the former Orgreave colliery site, and in the Treeton Reading Rooms. The event included McCloskey and Vardy’s performative walk, which saw them perform extracts from theoretical texts and speeches exploring the politics of extraction from decolonial and anti-colonial theorists and activists (e.g. Gloria Anzaldúa, Elizabeth Povinelli, Artemisa Xakriabá, Sylvia Wynter, Elizabeth Grosz, Anna Tsing, Kathryn Yusoff, Zapatistas) around the post-extraction landscape with a live art performance by invited local artist Damien Fisher (who is part of the LGBTQI community in support of the miners’ campaign). Following the walk, a collective conversation with local fracking and coal-mining activists drew together different groups and networks, and created a unique space for different struggles, experiences, and stories to be shared, between academic and non-academic groups. The event, which was attended by about 60 people, also situated the conversation, beyond the city centre towards the boundary between Sheffield and Rotherham, at the site itself of the stories that were told. McCloskey and Vardy were subsequently invited in 2020 by the Orgreave Truth and Justice Campaign to engage in and present at an online event Music, Art and Activism event September, 2020, the video for which has had over 3200 views (view live recording: https://www. facebook.com/120820591409802/ videos/635011967205130
    • Gestures of Resistance

      Fisher, Craig; Wainwright, Jean; University of Derby (University for the Creative Arts, Canterbury Romantso Cultural Centre, Athens, Greece, 2017-04)
      Gestures of Resistance aims to respond to our current general mood of political anxiety and alienation by opening up socio-political critique in order to resist the palpable feeling of disempowerment. Rather than accepting the non-choice of the neoliberal setup of Greece or current right-wing politics both in America and Europe, the artists of Gestures of Resistance reflect on the current state of our political condition, our current housing situation, the state of education and art, liberalism, diversity and pluralism in this moment of historical crisis, whereby the state of today seems to have strong links to the state of the past. As part of Gestures of Resistance, artworks by sixteen international contemporary artists will be exhibited at the Romantso Cultural Centre in Athens during Documenta 14. From photographs and collages to sculptures and installations, each artist has an agenda and political take – some subtle and cryptic, some openly confrontational. Fisher will be exhibiting new and existing sculptural works from his, ‘Homemade Device’ series. Participating artists include: Bill Balaskas, Pavel Büchler, Broomberg and Chanarin, Edward Chell, Ian Dawson, Craig Fisher, Alfredo Jaar, Peter Kennard and Cat Phillipps, Steffi Klenz, Małgorzata Markiewicz, Louisa Minkin and Francis Summers, Terry Perk, Julian Rowe, Yorgos Sapountzis, Bob and Roberta Smith, Socratis Socratous, Wolfgang Tillmans, Jessica Voorsanger, Stuart Whipps
    • Gettin' the Heart Ready

      Fisher, Craig; University for the Creative Arts, Canterbury; Nottingham Trent University (The Royal Standard, 2016)
      This group exhibition celebrated The Royal Standard’s coming of age as the gallery entered its tenth year of artist-led programming within the city (Liverpool). The 23 artist-strong retrospective showcased artists that have been collaboratively nominated by directors past and present, in recognition of their previous work for The Royal Standard and their careers as practitioners. Gettin’ the Heart Ready will give an opportunity to look back on The Royal Standard’s formative younger years, to show appreciation to those that have contributed to a successful decade, and to look forward and consider the prospects, the potential and the future of The Royal Standard. Fisher was invited to participate in the exhibition, showing works from his ongoing ‘Rioter’ and ‘Homemade Devices’ series within a site-specific (wall painting) installation. ‘Rioter (Memphis)’, was conceived and made specifically for the exhibition as a continuation of Fisher’s interest in pattern, camouflage, and the subversive potential of the decorative. Alongside this work, Fisher also exhibited a number of ‘Homemade Devices’ sculptures siting them in juxtaposition with the wall painting. Participating Artists: Jo Addison, Jonathan Baldock, David Blandy, Oliver Braid, Joe Crowdy, Jemma Egan, Craig Fisher, Matt De Kersaint Giraudeau, Michelle Hannah, Joe Hamilton, littlewhitehead, Celia Hempton, Holly Hendry, James Mclardy, Pil and Galia Kollectiv, Jake Laffoley, Liliane Lijn, Jess Flood Paddock, Mike Pratt, LOW PROFILE, Ailie Rutherford, Sam Smith, Dave Sherry.
    • A gift for Eleonora

      White, Christine; Oddey, Alison; University of Derby; Nottingham Trent University (2015-05-12)
      The performance, ‘A gift for Eleonora’ is a research output, which investigates the cultural value of the arts for health, happiness and well-being as a cultural health intervention for public engagement in an UNESCO World Heritage Site. This was performed in the UNESCO World Heritage Site of the Basilica di Santa Croce, in the Cappella dei Pazzi, Florence, Italy on May 13-15, 2015.
    • Girls like that

      Lane, Kit; University of Derby (2015-02)
      A variety of source material was used including original photographic and video images, computer generated imagery and Creative Commons licensed images. Extensive use was made of projection mapping techniques. A wide-screen image was created at a short throw distance by edge-blending two projectors.
    • Google scholar and e-journals.

      Bryson, David; University of Derby (2010-09)
    • Green fingered.

      Marmalade, Gemma; University of Derby (Birmingham Open Media, 2015)
      In partnership with Birmingham Pride Festival. The exhibition explores the possibility that those of homosexual persuasion are more likely to have a visceral impact on the cultivation of plants. During studies of communal lesbian gardeners throughout the 1970’s, German botanist Dr. Gerda Haeckel observed accelerated growth, crop abundance and overall increased vegetational health. Green Fingered investigates the territory of this research and visually interprets its findings through a series of specially commissioned artworks. Pherometer (2015) is a site specific suspended device that purports to measure the gradient of ‘ARQP’ (Atmospheric Responsive Queer Pheromones) in its vicinity through sensory plants attached via complex wired conduits. The Seed Series (2015) meanwhile is a collection of eight photographic portraits of some of Haeckel’s original subjects and their finest vegetable specimens. Trans Tent (2015) is an immersive, freestanding installation structure, akin to a hothouse and occupied by flora that respond to interaction through vibration and sound. Within it features a continually evolving kaleidoscopic audiovisual instructional guide to the rudiments of successful queer botany and futuristic predictions to the sustainability of bio produce. Marmalade invites the LGBT community to become subjects in the Trans Tent installation during Birmingham Pride weekend (23 to 24 May). This new video artwork incorporates performative excerpts and appropriated material in a parodic and absurdist response to the educational programmes of Haeckel’s era. Green Fingered explores how research in the medical and social sciences has to date focused on trying to identify genetic and psychological traits relating to sexuality. At a time when research continues to find the ‘gay gene’, Green Fingered coalesces aspects of gender and cultural studies with biological science through provocative visual experimentation.
    • Green fingered: Seed series

      Marmalade, Gemma; University of Derby (Various venues, 2016)
      Double Act: Art and Comedy explores how comedy helps us to shape meaning and negotiate the complexities of everyday life. Humour is a way of binding people together: providing consolation, a sense of shared experience and a powerful weapon of resistance. But, what we find funny can also be cruel, hateful, establishing symbolic boundaries that divide people into distinct groups, setting those with power against those without. The show draws together artists from diverse cultural and political contexts, each sharing an interest in humour as a resource to animate their art practice and to connect with an audience.
    • Green fingered: Seed series.

      Marmalade, Gemma; University of Derby (Arquipelago Centro de Artes, 2017-09)
      The Laughable Enigma of Ordinary Life explores how comedy is important in shaping meaning, helping us negotiate the complexities of everyday life. What we find funny can be cruel, hateful, establishing symbolic boundaries that divide people into distinct groups, setting those with power against those without and vice-versa. But it is also a way of binding people together: providing consolation, a sense of shared experience and a powerful weapon of resistance.
    • Guest talk: Be your dog.

      Bartram, Angela; University of Derby (Live Art Development Agency, 16/05/2018)
      Shaun Caton’s Prancing Poodles and Preposterous Pugs is a visual tour through some of his extraordinary collection of vintage and historic photographs, and an illustrated talk exploring the animal as performer for the camera, live audience, and the collective creative imagination. Looking at bizarre photographs of animals both dead and alive, Shaun will evince their forgotten stories and pinpoint the human relationships within a performance context. Jack Tan’s Four Legs Good is a live revival of the medieval animal trials, where animals who had committed some offence were charged in court, prosecuted and defended by barristers, and sentenced in full hearings before a judge. In advance of the first sitting of the Animal Court at Compass Festival 2018 in Leeds, Jack will give a presentation about the Animal Court and offer advice to all dogs present who may have fallen foul of the law on how to bring or defend a case. Angela Bartram’s Be Your Dog explores relationships beyond the hierarchies of pet and owner in response to Donna Haraway’s concept that two companions are necessary for a functional co-species co-habitation. The project saw participants and their dogs attend workshops to learn how to establish empathy, equality and connection, and strategies for dog and human to be equals with each other and to test if it is possible to establish a non-hierarchical pack. She will talk about Be Your Dog and her other work with animals including the significance of dog/human cohabitation at the end of life, using dog walking as a way to engage community, and giving access to animal theory to animals themselves. Artist and researcher Sibylle Peters will facilitate conversations.
    • Hand on heart

      McNaney, Nicky; University of Derby (29/09/2017)
      An Illustration created for Rankin Photography Studio, to promote British Heart Foundation, “World Heart Day” An international art project with creatives from around the world, to raise awareness of the global fight against heart disease through the use of social media.
    • The hands of Beuys and Heidegger

      Baker, Steve; University of Derby (Whitechapel Gallery/ MIT Press, 2016)
    • The Hastings sound fountain

      Locke, Caroline; University of Derby; Nottingham Trent Unviersity (FACT, Liverpool, 2015-07)
      The term ‘ Performing Data’ was first used by the artist Dr Rachel Jacobs and became the title of Caroline Locke’s research residency at Nottingham University. The Performing Data Project was developed by an interdisciplinary group of HCI (Human, Computer, Interaction) researchers, artists and creative technicians based across the Mixed Reality Lab and Horizon Digital Economy Institute. The Hastings Sound Fountain was developed as part of this project and residency. Locke makes works that ‘Perform data’, revealing data to an audience in various embodied forms - sometimes slowly, sometimes live, to elicit emotions, engage the imagination, extend understanding and to inspire an audience to reflect. Caroline makes links to our natural world and finds ways to expose the beauty in nature. She is keen to find innovative ways of communicating scientific and environmental research to a public audience. The Hastings Sound Fountain at FACT was controlled by data being sent LIVE from Hastings Pier. A sensor on the end of the pier is recording the rise and fall of the sea level and the levels trigger the rise and fall in the sound frequencies being sent to the Fountain. As the sensor tracks the rise and fall of the sea, frequencies sweep through the Sound Fountain, causing ripples and waves on the water surface. A visualisation of the live data and footage of the sea beneath the sensor is projected or viewed on a monitor close to the fountain. Locke contributed to a series of workshops, talks, and events, which were scheduled to facilitate visitor understanding at FACT in Liverpool in July 2015. The Hastings Sound Fountain was exhibited as part of these events.