• 'I Speak about Myself to You' – Renegotiating the Voice of Documentary through Animation Aesthetics

      Bosward, Marc; Bevan, Greg; University of Derby; University of Salford (The Higher Education Academy, 23/06/2011)
      Documentary practice has long been encumbered with journalistic and pseudo-scientific expectations; the gathering of evidence, the balancing of material and the objective presentation of accurate and informative data. Overwhelmingly, documentary audiences are encouraged to believe in an objective reality and, by extension, to anticipate fidelity to it. Filmmakers' aesthetic choices are selected and organised to persuade the viewer that the resulting voice of the documentary is an honest, rational and sensible point of view. This paper will explore the documentary filmmaker's detachment from an obligation to deliver objective truth by applying the visual, aural and temporal distortions of animation to interrogate conventional notions of knowledge, reliability and authority. By taking a collaborative approach to the research project, the paper will explore the inherent transformative, non-representational and illusory nature of animation in relation to the construction of authorial voice for documentary. Drawing on the theory and practice of filmmakers Aleksandr Sokurov and Alexander Kluge, the paper will assess to what extent truth can be derived from expressionistic aesthetic components as readily as they can from the narration of factual information and photographic reality; can animation in documentary assimilate fiction into fact and synthesise truth and fantasy? Further, the paper will argue that the didactic voice of traditional, expository documentary encourages passive observation while animation can provoke a more poetic interpretation of the films' diegesis; how can the authenticity of documentary material be legitimised by foregrounding authorial mediation rather than attempting to camouflage subjectivity? The introduction of animation aesthetics into documentary realism offers the filmmaker a wider choice of expressive tools to define, extend and affirm their own personal voice. This paper will offer a practical assessment of these issues, offering new approaches for filmmakers to explore the epistemological resonance of their craft, and to extend the formal and thematic parameters that determine documentary's status as nonfiction testimony.
    • I want you to participate: Pause for thought

      Penna, Xristina; University of Leeds (University of Leeds, 31/05/2017)
      This colloquium took place at Stage@leeds, School of Performance and Cultural Industries, University of Leeds on May 31st 2017. It aimed to contribute to Harpin and Nicholson’s ‘reflective response to why the contemporary moment appears somehow to need participation’ (2017: 15). It focused on questions regarding the resistances, crises, or ethical dilemmas encountered by the invited artists, and creative researchers when using participatory formats. Aim was to collect direct insights from an eclectic group of artists, and creative researchers who work across installation, intermedia, immersive, applied art, and performance, and who utilise these formats.
    • Icarus

      Marshall, Alice; University of Derby (2016-09)
      Live Dance performance, shown here in video form: Inspired by the well known Greek myth of Icarus; the boy who flew too close to the sun – Artistic Director and Choreographer, Alice Vale is collaborating with Rob and Matt Vale of digital art company, Illuminos, to bring the tale to life. Icarus is the son of Daedalus, an inventor who is involuntarily creating a maze at the hands of King Minos. The performance explores themes of over ambition, ignorance and recklessness whilst conveying the intimate relationship between father and son. A consistent multi-media of light, sound, animation and contemporary dance brings the piece an additional dimension, of which heightens the depth of the tale. The digital animations interact with and respond to the choreography, of which captures and transforms imagination into reality, allowing the performance to thrive and come to life. All is revealed in the final scene, a moment of soaring, with entirety and ambition. No fear, doubtless and reaching for your desires. “Never regret thy fall.”
    • Icarus: Project reports and education pack.

      Marshall, Alice; University of Derby (Adair to Dance, 2015)
    • Ice holes

      Locke, Caroline; University of Derby (Primary, Nottingham, 2020-05-20)
      Performing Data is an Arts Council Funded Project exploring and developing possibilities, using various forms of physical and environmental data in order to control and activate sculptural works. The sculptures become part of a series of live performances, installations and films. Ice Holes uses data in connection to climate change. Ice Holes is a sound installation. An old Dansette vintage record deck has been hacked so that it plays at speeds controlled by various data sets. Ice Holes uses Artic sea ice data recorded by the Scott Polar Research Institute to control the speed of the revolving record. In February 2020 Caroline was assisted by the Norwegian Polar Institute to make sound recordings of ice melting in a lake in the Arctic Circle. She has since made compositions using these sounds and cut new vinyl records which are played on the hacked record deck. The soundtrack slows down and speeds up according to the climate data. The work has a sensor which activates only when the audience is present. The output in May 2020 was delayed by Covid-19
    • The identification of tattoo designs under cover-up tattoos using digital infrared photography.

      Bryson, David; Wright, Jonathan; Barker, Kimberley; University of Derby (2013-12)
      This paper looks at digital infrared photography as a technique for identifying primary tattoos even if they have been covered up with additional tattoos. The study's goal was to look at a sufficient number of cover-up tattoos using infrared photography to enable the technique to be used more widely, and to attempt to elucidate the reasons for successful and unsuccessful infrared photography of primary tattoos through cover-up tattoos. Thirty-six tattoos were photographed in infrared along with colour control records. The results showed that primary tattoos could be visualized to some extent in 55.6 % of the cover-up tattoos and very well in 38.9%, this still left some 44.4% where the design of the primary tattoo could not be seen. The extent of visibility of underlying designs was found to depend on the ink colour, ink density and the extent to which the tattooist covered or incorporated the existing tattoo into the new design.
    • Igniting imagination through darkness: discovering fear and fantasy through shadows, silence and the invisible.

      Slabbert, Barend; Jordaan, June; Cape Peninsula University of Technology (Inter-Disciplinary Press, 2016)
      Darkness invites imagination. On the one hand, it creates intimacy. It has been observed by many artforms that we feel the need to close off our vision during intense emotional experiences, during dreaming, listening to music, or caressing our loved ones. Shadows can be seen to do this for us, as they dim vision and entice unconscious peripheral vision and tactile fantasy. On the other hand, darkness entices fear. A person, who is afraid of the dark, writes Finnish architect Palasmaa, has no factual reason to fear darkness as such; he is afraid of his own imagination. Darkness, or the lack of light, is also often accompanied by silence and has the ominous ability to render the visible invisible. To probe the experience of darkness, this paper will refer to the philosophical position of phenomenology. In this regard, darkness is seen as a phenomenon that is experienced through our bodily senses. The phenomenology of darkness will be investigated be making reference to the way we project ourselves onto architectural spaces, also known as ‘mimesis of the body’. Furthermore, it will be investigated how our perceptions, memories and imaginings of past experiences influence such projections. This paper hopes to show how the relation between imagination, our mental faculty that forms images of external concepts not present to the senses, and darkness, can be understood by interpreting spatial narratives of architectural interiors. A selection of evocative interiors will be interpreted in terms of three factors that contribute to the phenomenology of darkness: shadows, silence, and the invisible. By doing so, this paper hopes to indicate how darkness has strong existential expressions that can be incorporated into spatial narratives in architectural interiors.
    • Illustrated worlds

      Bosward, Marc; Levesley, Richard; University of Derby (Association of Illustrators, 2013-10)
      The practice of the contemporary illustrator is no longer exclusively defined by the traditional orthodoxies of the commissioner and illustrator relationship. Contemporary Illustration has expanded the parameters of the discipline to include toys, games, animation, collectable objects, fashion and other forms of media and merchandising. This multi-disciplinary and authorial practice is often predicated on the creation of an identifiable, virtual ‘world’ that is manifest across an illustrator’s output, independent of variations in audience, purpose and subject matter. This paper will explore the illustrator’s use of visual language in constructing virtual, illustrated worlds.Drawing from a range of contemporary examples, the paper will explore the capacity of illustration to generate a virtual world that engages and absorbs its audience. The paper will argue that a sense of place established through non-representational approaches can address the actual, socio-historical world through the interpretation of the constructed world’s diegesis. The paper will also consider how a world is realised across personal and commercial outputs and the interrelationship and interface of authorial and commercial imperatives.
    • Illustrated worlds, virtual environments and authorial voice

      Bosward, Marc; Levesley, Richard; University of Derby (2013-01)
      The practice of the contemporary illustrator is no longer exclusively defined by the traditional orthodoxies of the commissioner and illustrator relationship. Contemporary Illustration has expanded the parameters of the discipline to include toys, games, animation, collectable objects, fashion and other forms of media and merchandising. This multi-disciplinary and authorial practice is often predicated on the creation of an identifiable, virtual 'world' that is manifest across an illustrator's output, independent of variations in audience, purpose and subject matter. This paper will explore the illustrator's use of visual language in constructing virtual worlds that define authorial voice. Drawing from a range of contemporary and historical examples, the paper will explore the capacity of illustration to generate a virtual world that engages and absorbs its audience. How does an illustrator use the language of exaggeration, distortion, symbolism and metaphor to construct a system of coherent signifiers that constitute a world that is repeatedly revisited across their practice? The paper will argue that a sense of place established through non-representational approaches can address the actual, socio-historical world through the interpretation of the constructed world's diegesis. An analysis of contemporary illustration in its relationship to genre and authorship will be discussed in relation to this premise. The paper will also consider how a world is realised across personal and commercial outputs and the interrelationship and interface of authorial and commercial imperatives. The paper will offer an assessment of these issues, offering approaches for illustrators to explore the intellectual, psychological and emotional resonance of illustrated worlds, and to extend the formal and thematic parameters that determine illustration's status as a narrative form.
    • Illustrating Corsica: The modernist landscape of John Minton's Time Was Away.

      Neal, Ian; University of Derby (Intellect Ltd., 01/04/2018)
      The article considers John Minton’s (1917–57) illustrations of landscape for the book Time Was Away: A Notebook in Corsica (1948) with an aim to recover their significance in the history of illustration. Certain illustrations are positioned as notable for their ambiguous relationship to the text. I elaborate thinking around text–image relations alongside questions concerning the cross-fertilization of fine art and illustration. In their adoption of modernist principles, Minton’s illustrations are significant in recasting the role of illustration in the artistic context of post-war Britain. In melding formalist effects with realist concerns, the illustrations raise broader matters around realism, fine art and the democratic potential of illustration. I show that in seizing on cinematic techniques, Minton offers an effectively modern response to the traditional paradigm of depth associated with landscape and thereby proffers an alternative to the Modernist paradox that a teleological development of painting is at odds with landscape.
    • Immersive deconstruction: An exploration of dynamic loop-based performance diffused in a multi-channel environment.

      Vandemast-Bell, Paul; Brown, Michael; University of Derby (Kling Gut Symposium, 10/06/2017)
      This performance at klingt gut! 3rd International Symposium on Sound by the audio-visual duo, Time.lus, explores (through live interaction) the dynamic dialogue between rhythmic, audio-visual materials in space. Original source material is presented then deconstructed and improvisationally reimagined in real-time, to create synchronous / asynchronous rhythms and textures. The work is evolved through the use of audio-visual effects and dynamic processors.
    • In conversation: Mary Kelly speaks to Paula McCloskey.

      McCloskey, Paula; University of Derby (2012-01-01)
      Presented below are extracts from a conversation with the contemporary artist Mary Kelly which took place in February 2011 at the Whitworth Gallery, Manchester, surrounded by a large selection of her work during the Mary Kelly: Projects, 1973-2010 exhibition. Kelly’s oeuvre is undoubtedly diverse and progressive, but it is also coherent and interconnected. During our dialogue, Kelly reflected on her approach to art-making; making links between her works, connecting her projects across time and space. What follows is a hybrid text containing extracts of the conversation with Kelly and some observations made after reading the full transcript. The overall piece contemplates the connections across Kelly’s work and specifically draws attention to the place of the mother and child in her projects.
    • The (in)separability of matter: on prāṇa, energy and permeation

      Sharples, Victoria; University of Derby (2021-10-01)
      ‘The (in)separability of matter: on prāṇa, energy and permeation’ is a paper in response to a three-year practice-led study, which speculates on (non)human bodily ‘intra-activity’ (Barad, 2007) relative to cremation practices at Pashupatinath Temple and along the sacred and contaminated Bagmati River in Kathmandu through Gas Chromatography–Mass Spectrometry (GC-MS) and Inductively Coupled Plasma–Mass Spectrometry (ICP-MS) ash analysis readings. It is the outcome of field research, laboratory experiments and a series of participatory projects which aim to unbalance asymmetric tendencies which assume the ontological separation of the human and non-human through collective; microperformative, practices. Realised between 2018–2020, Ash is an international (e)mail art project in which three pieces of Nepalese Lokta paper were placed on the surface of the Bagmati downstream from Pashupatinath. Once dried, participants sent their contributions to the UK using their closest postal service. Contributions were received from artists Sagar Manandhar and Pratima Thakali from Kathmandu University, and from Nepali musician Anil Shahi. On arrival, the substrates were incinerated and analysed through GC-MS and ICP-MS at the University of York and the University of Leeds. Through the intersection of art, ecology and New Materialism, this paper calls into question the permeability of organic and machinic matter as agential, osmotic and energetic (Salter, 2020). It builds on the assumed ‘aliveness’ of ‘live art’ practice (Hauser & Strecker, 2020), and calls on ‘passive’ matter to contribute to this discourse. For ENERGY: SLSA 2021, this paper unpacks the spiritual substance of prāṇa as an energy-current that permeates all.
    • InDialogue 2012 Symposium. Panel: Performing Dialogue

      Jones, Rhiannon; Nottingham Trent University; Loughborough University (2012-08-31)
      In Dialogue is an International Symposium that will interrogate how artists and researchers use dialogue in practice. In Dialogue will focus on performance, translation, as a methodology and curatorial practice, through a number of panel discussions, performances, workshops and presentations. It will utilize an eclectic mix of approaches and provide an opportunity for local, national and international dialogue between participants. The symposium grew out of a conversation regarding individual research interests; it deliberately sets out to present different ways in which the arts/artist use this term. It is curated by Viviana Checchia, Heather Connelly and Rhiannon Slade, and supported by Loughborough University and Nottingham Trent University – where each of the aforementioned participants are studying for their practice led PhD’s. It will take place at three sites across the city of Nottingham on August 30th – 31st August, supported by Nottingham Contemporary. The program will include a communal meal at a local Community Hall on Thursday evening and a day of activities at Primary, an artist-led space. Panelists include Bisan Abu Eisheh, Mirna Bamieh, Clare Charnley, Fucking Good Art, Newton and Helen Mayer Harrison, Dr Alex Mevel, John Newling, Alexandra Ross, WochenKlausur, Katerina Zdjelar. Performances and presentations from 20/20, Bartram and O’Neill, Rebecca Beinart, Tom Estes, Steve Fossey, Julie Fournier Lévesque, Traci Kelly, Matthews and Allen, Rachel Parry, Alexandra Ross, Miffy Ryan, Helena Tomlin and Julia Davies, Trio Collective, and Simon Withers. InDialogue was chaired by Dr Anna Ball, Nottingham Trent University. PANEL THREE: Performing Dialogue. Panelists Martina Reuter and Manfred Rainer from Wochenklausur, Newton and Helen Harrison from The Harrison Studio and John Newling each presented their latest work. Collectively their practice shares a common concern for the public interest which is activated through their use of the dialogic. The panel was chaired by Rhiannon Jones who facilitated a conversation between artists, countries, time zones and sites to discuss the use of conversation to generate practice.
    • InDialogue Closing Remarks 2016

      Jones, Rhiannon; Swindells, Steven; Connelly, Heather; Nottingham Trent University; University of Huddersfield; Birmingham City University; New Art Exchange (InDialogue, 2016-12-02)
      This session was a crucial part of the dialogic process and methodology. The session was positioned to close the InDialogue 2016 symposium. This conversation took place between Steve Swindells, acting as Chair, and founders Heather Connelly and Rhiannon Jones. The conversation was a research activity to allow us to disseminate activities and questions raised during InDialogue. It was a research process for the sharing of knowledge and allowed a space for drawing together key ideas, questions and reflections from the symposium programme of activity. It was important that initial learning and evaluation of the InDialogue methodology of how it brings people together was also discussed with the public who had actively engaged with the symposium, and who were invited to contribute their feedback and reflections. Key notional thoughts were shared on ideas of transformation and how are we being transformative in our practices, in the way we are thinking about language, and practice and research, and that idea of ‘trans’. Rhiannon Jones pulled together different talks, questions and discussions from the InDialogue Symposium and weaved them together for this event. It was important to demonstrate the through narratives started at InDialogue and link back to the definitions of dialogue that InDialogue methodologically draws on, see Grant Kester, Conversation Pieces, 2010. David Bohm, On Dialogue, 1996. Mikhail Bahktin, Art and Answerability, 2009. Start YouTube video at 34:55
    • InDialogue International Residencies

      Jones, Rhiannon; Nottingham Trent University; University of Derby; Nottingham Contemporary; Dance4; In Good Company (InDialogue, 2020)
      InDialogue International Residency Programme was conceived by Dr Rhiannon Jones in 2016 in order to consider how curatorial practice can engage in innovative research and exchange initiatives that foster new perspectives on modern and contemporary dialogic practice. The design of the programme by Jones provided the time to consider how her curatorial practice engages and innovates research methods for international exchange initiatives in order to foster new perspectives on dialogic and contemporary art practice. The model was developed with Dr Heather Connelly (co-founder of InDialogue) to create a unique space for duo-led practice as researcher enquiries into how they use dialogue in their collaboration, as a methodology and as a tool for the generation of practice. The methodology designed intentionally weaves academic, public and artistic led practices together to create a unique model for private and public testing out of creative and academic approaches to practice. In 2016 Artists Chloé Déchery (France) and Jane McKernan (Australia) in this group use the process of research to create the experience of the residency. The artists also created solutions and alternative approaches to the issues arising from that research. Further information on the 2016 residency: https://indialogue2014.wordpress.com/indialogue-residency/resident-artists-2016/ Following the success of the 2016 programme, in 2019 a second research-based residency was offered but this time to extend the investigation into curatorial research-based residencies. It was offered through a thematic that looked at the close nature of the relationship of the artist to the people and places that they work with and within. hancock & kelly were invited to be in residence at Dance4 from 11-18th November 2019 where they developed their latest work 'An Extraordinary Rendition' for a performance at Nottingham Contemporary as part of the 4th InDialogue symposium and event 19-21st November. Their residency was integrated into other forms of dissemination and experimentation of the notion of a residency - this included public performance, private studio time, workshops, public discussion event at Dance4, InDialogue Symposium presentation and panel event to academics and peers. Further information on the 2019 residency: https://indialogue2014.wordpress.com/2019-2/residency/ Both provided a bespoke dialogic design to support the intentions of the activity outlined by the selected artists to best support the dialogic investigations that they wanted to explore. As a result, the design of the residency programmes investigated the use of dialogue in curatorship and was disseminated by Jones in discussion with the resident artists and public at events built into the main InDialogue Symposiums that aligned with the residency schemes. • There was further learning and/or the transfer of skills and knowledge between parties both between the artist on the residency scheme, with the curators Jones and Connelly and with InDialogue symposium members and with the public and cultural partners in the residency programmes. The residency programmes in both 2016 and 2019 were supported and funded by Arts Council England, Nottingham Contemporary, Dance4, In Good Company and InDialogue.
    • InDialogue Sunday Supplement at Dance4 in conversation with Hancock and Kelly

      Jones, Rhiannon; Connelly, Heather; University of Derby (2019-11-24)
      This event hosted by InDialogue, In Good Company and Dance4 as part of InDialogue 2019, was facilitated by Dr Rhiannon Jones and Dr Heather Connelly. The aim of the session was to facilitate a conversation with the artists hancock & kelly about practice as research as a methodology. The research processes and methodology designed by Rhiannon Jones for the residency were also disseminated. The event provided a unique opportunity for Dr Rhiannon Jones to reflect and disseminate initial findings from the residency curated for hancock & kelly and how artistic practice works with notions of dialogue. The Residency provided space and time for hancock & kelly to make new work and revisit previously created material, hosted by Dance4 InDialogue Panel discussion at Derby Theatre. Panellists: Dr Traci Kelly and Richard Hancock, Mark Jeffery (Associate Professor, Performance, SAIC), is the curator of InTime and a former member of Goat Island; Nicholas Lowe (Associate Professor, Historic Preservation, SAIC) is the Curator of the Goat Island Archival and the exhibition, Goat Island archive – we have discovered the performance by making it; Jennie Klein (Professor of Art History, Ohio University) will moderate the panel. The session discussed practice in relation to debates concerning the tensions existing between performance and its residues and reflections were made and responded to with regards to dialogical ways of making work. The event was carefully curated and opened up to the public to extend the dialogue beyond the encounter of the live performance event. In doing this it allowed the artists to consider the studio time and process, the impact that the panel discussion and workshop event had on the artists was also noted. The residency programme successfully curated a new form of discourse out of its own making which threaded together the disparate activities, it created a shift in discourse about hancock & kelly practice within a wider, public context. It also fed back into the overarching research aims of InDialogue to act as an outside eye / or space for artists and researchers to question how they use dialogue in practice. By deliberately shifting the residency into a variety of locations it supported the enquiry into the role of movable discourses that shifts and reshapes itself to new sites and from out of that, new forms of dialogue are established. During the conversation hancock & kelly reflected on the inception of their performance An Extraordinary Rendition in Chicago, how they worked with the Goat Island Archives, their dialogic process, the development and performance of the work for Nottingham contemporary. hancock & kelly and Rhiannon Jones and Heather Connelly also reflecting upon their experience of working with ‘in’ Dialogue with each other and participation in InDialogue 2019. hancock & kelly were commissioned by InDialogue, In Good Company and Dance4, supported by Arts Council England to come to the UK, to have time to develop their practice and present their work at Nottingham Contemporary of An Extraordinary Rendition for InDialogue 2019.
    • InDialogue Symposium 2016

      Jones, Rhiannon; Connelly, Heather; University of Coventry; Nottingham Contemporary; New Art Exchange; Nottingham Trent University; Birmingham City University; Dance4; University of Huddersfield (InDialogue, 2016-12)
      InDialogue is not just a title, it is an identified way of working for Jones and Connelly to be ‘in dialogue’ with each other, with the field and with other researchers and artists. InDialogue is articulated by Dr Rhiannon Jones as both a research process and a project. InDialogue 2016 galvanises the success of 2012 and 2014 International Symposiums andnd the result is the 2016 iteration in which InDialogue was defined as existing to extend Dr Rhiannon Jones and Dr Heather Connelly’s own artistic research into how artists and researchers use dialogue in their work. As such, InDialogue 2016 was created to continue their collaborative investigation into dialogic practices through a methodological framework (InDialogue) in order to provide themselves and other artists and researchers the opportunity to engage with this dialectic and discursive research process /activity. The resulting outcome is that InDialogue in 2016 shifted away from being a bi-ennial symposium from pilot events in 2012 and 2014, and in 2016 it became an established form of practice-research through which their own research enquiries can also be supported by this unique platform and hospitable environment. As a result, InDialogue 2016 research topics were designed by Jones and Connelly, who proposed across three discussion panels which were intended to stimulate a dialogue around the most immediate issues. So, for example, the first was devoted to Speaking through the voice of another, Transcultural Dialogues and We Have A Situation – all re-considering their interests in performative, linguistic and digital aspects to the dialogic enquiry. This framework supported a setting for others artistic research, experimentation, interrogation and discussion about and through dialogue, which resulted in a new understanding for InDialogue, as a driver not just a facilitator or a conversation starter for other. By doing this, it addressed the question of how an ongoing research project, such as InDialogue, can interrogate how arts researchers and cultural organisations use dialogue in and as practice. It did this by generating a dialogical framework – co-designed Jones and Connelly created a programme that had three specialist panels that focused upon the curators' specific research interest, and alongside this were presentations, papers, performances, interventions, workshops and discussions. This was to allow for the exchange of research across cultural, intellectual and social levels. A series of connected research provocations created by Jones and Connelly to be addressed were: • Dialogue as knowledge and production • Dialogue as artistic and curatorial process • Interactive and collaborative dialogic practice • Dialogic bodies: haptic communication, gestures and exchange • Dialogue as an embodied methodology • Motivations for participatory & dialogical practice locally situated • Agendas of institutions in promoting engagement • Reflections on power relations and how collective practice is authored. • Transcultural and transdisciplinary dialogic practices. It is important to note that the above formed provocations are set out of a series of research agendas and questions that the cofounders Dr Rhiannon Jones and Dr Heather Connelly devised together - through and out of their own research interests. These research interests offer a collaborative framework and focus for the dialogic field of enquiry; and call for participation as set out by InDialogue. In order to extend the frame of reference and knowledge exchange in the field for the enquiry Dr Rachelle Viader Knowles was invited to the curatorial team as her research interests aligned with the themes set out. Professor Steve Swindells was invited to act as Chair due to his extensive knowledge of the dialogic field. Papers were peer reviewed by InDialogue 2016 partners from Birmingham City University, Nottingham Trent University, Coventry University, Nottingham Contemporary, New Art Exchange, Dance4. Reach: The 2016 event took place at Nottingham Contemporary (NC) and New Art Exchange (NAE), with an evening of performances in association with Dance 4. It was also supported by Nottingham City Council, which has recently been named UNESCO city of literature of which InDialogue aligned with this accolade for the city of Nottingham. Nottingham City Council (NCC) marketed it through their inhouse team – it featured on the events landing page, in their Whats On weekly emails (reaching 26K), Facebook (15k) and Twitter (7k). Dance 4, Nottingham Contemporary and New Art Exchange also promoted the event and we featured in their brochures and websites and social media campaigns reaching art audiences of approx. 25K. The event was also marketed through our InDialogue mailing list, social media and JISC mail. (10k). InDialogue was chaired by Prof. Steve Swindells, University of Huddersfield, with guests Prof. Grant Kester, University of San Diego, and panelists Helen Varley Jamieson (Germany and New Zealand) with over 50 presenters taking part over the 2 days, featuring a range of presentations from across the ADM faculty and academic institutions from around the UK, EU and USA: Birmingham University, Coventry University, De Montfort University, Loughborough University, Lincoln University, Nottingham Trent University, Southampton University.
    • InDialogue symposium 2019

      Jones, Rhiannon; Connelly, Heather; University of Derby; University of Lincoln (University of Derby, 2019-11-19)
      InDialogue is a collaborative artistic research project between Dr Rhiannon Jones and Dr Heather Connelly. Conceived in 2012, whilst both where in the midst of their PhDs in Fine Art, InDialogue was created as an extension of their own practices and aims to provide a platform and hospitable environment for artistic research, experimentation, interrogation and discussion about and through dialogue. Due to the impact of InDialogue on the arts and research community the 2019 symposium is the fourth iteration of InDialogue Symposium event that aims to follow and expand the core values of InDialogue: knowledge sharing, dialogue, and interdisciplinarity, to create a space of intellectual interaction and imagination for the future in society. InDialogue 2019 continues the series of international events as part of an ongoing research project, that interrogates how arts researchers and cultural organisations use dialogue in and as practice. The underpinning research is evidenced through the medium of exhibition, publishing, public debate, conference and commissioning of new work. The research explores the contemporary landscape of dialogic practice, across all contemporary visual arts and performance practice. The impact of InDialogue2019 is noted through the way it attracted a variety of participants from beyond a particular institution to make sure that dialogue happens beyond and between institutions, creative and cultural venues and across boundaries. The evidence of this is through a breakdown of the institutions and disciplines, who are at different stages in their career, artists, academics, arts professionals and researchers and students from a range of Universities, geographic backgrounds and countries. The status and range of international artists who attended have enabled us to further establish InDialogue’s international reputation and raise awareness of both The University of Derby and the University of Lincoln. Partners: Dance4, InGoodCompany, Nottingham Contemporary, Derby Theatre, Deda, Mansions of the Future University of Derby, University of Lincoln, CVANEM. In summary, the methods employed are varied and carefully curated to provide a series of distinct cultural spaces to generate new forms of thinking around the nature of dialogue. This iteration of InDialogue brought UK and International based artists and researchers together, providing a dedicated time, to push the boundaries in thinking about the use of DIALOGUE and SITE within PRACTICE, across the disciplines of art and design. We invited proposals that activated a variety of regional cultural venues Derby Theatre, Déda, S.H.E.D, Mansions of the Future, Nottingham Contemporary. The themes decided by Jones and Connelly, harnessed the potential afforded in the temporary occupation of, and movement between these sites in order to expand the examination of dialogic practices. Selected artists responded to the thematic call, and proposed ways to occupy and alter activities within the sites. Jones was interested in how methodologically, this would generate research spatially by moving the discourse between sites, shifting the locus of discourse between people and place. To this end, InDialogue sought techniques to inhabiting the in-between spaces and the in-between of linguistic construct of dialogue (dia meaning through / from the word) being that which is active and engaged disrupting the rhythms and creating a hybrid space and time. Including an InDialogue commissions, a guided walk facilitated by artist Tom Hackett ‘A Song for Derby’, 2019, taking delegates between sites for InDialogue2019. The decisions made by Jones and Connelly for InDialogue 2019 took an evidently varied approach in order to methodologically engage with a wide range of individuals, practices, methods, forms and materials. Focusing on dialogue as: • knowledge and production • artistic and curatorial process • interactive and collaborative practice • translation and intercultural communication. It has supported over 250 international artists and researchers, created 2 UK based international residencies, financially supported by 10 UK leading Cultural Organisations and H.E partners, and has reached over 100 participants from 12 countries and funding (in kind and cash) reaching 163k to date.
    • Informed & educated: when public service radio learns from the commercial radio sector

      McMahon, Daithí; University of Derby (VIEW Journal of European Television History & Culture, 2019-12-19)
      Using the Irish Radio Industry as a case study, this chapter illustrates how the Public Service Broadcaster (PSB), Raidió Teilifís Éireann (RTÉ), was slow to react to change and the effect this had on the organisation’s competitiveness. This chapter analyses how RTÉ’s youth radio station, RTÉ 2fm, lost its place as the market leader to the competition including commercial station Beat and other stations as it resisted the required technological, social and economic change which ultimately affected its listenership. The author argues that the independent sector led the way in innovation and affected change which greatly benefited the industry as a whole and brought it into the digital age. This research was based on a methodology involving in-depth interviews, online surveys, textual analysis, direct observation and a longitudinal content analysis.