• PaintingDigitalPhotography conference

      Robinson, Carl; University of Derby (2017-05-09)
      The PaintingDigitalPhotography conference seeks to investigate how artists and theorists are currently engaged in critical discourses around the shifting relationships of painting, photography, and digital manipulation. How are these mediums being defined in their connection to one another as new hybrid forms are being created through their combination? What do these combinations tell us about these mediums and disciplines, their natures and practices, in the digital age? In what ways might digital imaging and manipulation enable a painting / photography interconnectivity? Central to the debate will be the focus on the blurred boundaries, common threads, antagonisms, distinctions, and growing interrelationship between painting, photography, and ‘the digital’ in the development of new creative practices.
    • PaintingDigitalPhotography: Synthesis and difference in the age of media equivalence

      Hilliard, John; Honlold, Astrid; Robinson, Carl; Rosenstein, Tatiana; Rushton, Stephanie; Simson, Henrietta; Speidel, Klaus; Walker, Jame Faure; Weir, Catherine M; Wooldridge, Duncan; et al. (Cambridge Scholars Publishing, 01/09/2018)
      We live in a digital age where the mediums of art are inextricably bound to the binary code, and painting and photography are redefined in their interconnected relationship through digital reconfiguration. As digitisation unmoors these mediums from their traditional supports, their modes of production, display and dissemination shift. These changes bring about new ways of creating, and engaging with, artworks. Through this, the innate qualities of the mediums, previously anchored in their analogue nature, are re-evaluated through their connection with “the digital”. Born out of the PaintingDigitalPhotography conference, held at QUAD Derby, UK, in May 2017, this anthology of essays investigates aspects of interconnectivity between painting, digital and photography in contemporary art practices. It contributes to critical discourses around networks of associations by examining where syntheses occur, and differences remain, between these mediums at the beginning of the twenty first century.
    • Parallel dialogues

      Jones, Rhiannon; Cologni, Elena; University of Derby; University of Lincoln (InDialogue, 2016-08)
      This paper was presented by Elena Cologni and Rhiannon Jones and was delivered at Nottingham Contemporary for InDialogue Symposium 2016. The paper set out to provide some provocations found through their shared, or parallel dialogues. They described how their practices share a commonality, they both work within the contextual frame named ‘the dialogic’ or, as both having ‘dialogic practices’. These overlaps provided a framework from which the paper emerged dialogically, through conversation. Their individual approaches and practices utilise a performative and experiential approach, the orchestration of space, and the dialogic architectures of site and body. The paper provided a series of provocations - such as how is dialogue used in our practice and how do you define conversation? The paper resulted in a series of discussions, sharing of theoretical frameworks that both presenters use in their research to facilitate practice. The paper set out the context and territory for each of their 'parallel' and dialogic practices for other researchers to engage with the discourse. Parallel Dialogues was the result of a series of conversations between Rhiannon Jones and Elena Cologni which were then turned into a research framework for the paper, The paper became an example of a live process of practice as research through its iterative and reactive series of provocations and open ended dialogue in order to use the paper as both a conversation starter and as part of testing a new methodology for dialogic provocations as practice as research. The working paper for the artists was also a key text for them to discuss their practice research with one another, and with the InDialogue delegates (other artists and researchers) and collectively it sparked a wider discourse about the form and shape of papers, the performativity of papers and its relationship to dialogue.
    • Participatory arts: Mothers make art to heal minor mental health trauma.

      Watts, Lisa; University of Derby (Mental Health Network, 03/11/2017)
      The course was for twelve weeks, three hours a week, and we had a crèche for the Mothers’ children. The group of women were recruited from playgroups and attended the course wishing to question their experience of birth, parenting and fertility through art. The group was not a co-facilitation group as such, but instead over the duration of the course they brought their skills and knowledge to their individual art practice. Whilst I facilitated the group I was simultaneously in another themed group therapy, as a participant, with an art therapist for women that had experienced minor trauma in the birth or early months of their child.
    • The Path of Light: ritual music of the Tibetan Bon

      Nicoletti, Martino; University of Derby, School of Art and Design (Bologna, Borgatti Edizioni Musicali, 2008)
      Conceived as an authentic multimedia work, composed by texts, images and an attached musical CD, this book provides an in-depth glance at the ritual music of one of Asia’s most ancient and least known spiritual traditions: Bön, the autochthonous religion of Tibet, which spread throughout the Land of the Snows prior to the introduction of Mahayana Buddhism in about the seventh century C.E. With its wealth of introductory texts and colour photos by the author, this original work – the first devoted to this specific theme – presents a rare selection of chants, music and mantras, most of which are connected with the religious path of Dzogchen, or Great Perfection. Among the tracks recorded live in 2006 at the Nepalese monastery of Triten Norbutse, the CD provides a rare collective performance of the chö, a meditative ritual of self-sacrifice, as found throughout bönpo tradition.
    • Paula McCloskey’ in Loveless, N.S. Contemporary Mamactivist Artists: A Forum on Maternal Activist Art for the Studies in the Maternal Special Issue on The Everyday Maternal Practice: Activist Structures in Creative Work, Summer 2016

      McCloskey, Paula; University of Nottingham (Open Library of Humanities, 2016-12-15)
      This special forum for Studies in the Maternal asks fourteen activist-mother-artists, or “mamactivists”, to respond to the following questions: (1) When and why did you start making activist/political work on the maternal? (2) What reception/reaction did you receive for the work? (3) What is the latest activist/political work you have made on the maternal? (4) What shifts do you see from this first work to this last work? and (5) Why is the maternal, in your opinion, important to activist, engaged, political art today? Responses highlight a range of geographic and cultural perspectives, as well as artistic strategies. One commonality between them is that they take the maternal not as a biological facticity, but a rich feminist site of political intervention.
    • Pecking Order

      Lennox, Peter; University of Derby (TES Global Ltd, 2010-02)
      Peter Lennox keeps chickens, and they have taught him a great deal about behaviour, ethics, evolution and the psychopathic nature of modern 'efficiency' More Info: Light-hearted article in Times Higher Education. Co-authored with Edie, Dolly, Gertie and Flo
    • People in my world.

      Levesley, Richard; University of Derby (Oriel Davies Gallery, 2016-02)
      Digital image making print on characterisation. Limited edition Screen printed publication on the theme of weather A peer selected exhibition by Alex boyd Jones Curator, Director of Oriel gallery Amanda Farr and Chris Glynn Senior lecturer, Cardiff Metropolitan University.
    • A perceptual approach to the composition of meaning in artificial spatial audio

      Lennox, Peter; Myatt, Tony; University of Derby; University of York (Audio Engineering Society, 01/03/2007)
      This paper describes research to inform the production of spatial audio that consolidates knowledge from several disparate fields. A perceptual model is proposed, based on contemporary perception theories, as the basis for new approaches to audio spatial understanding and a new approach to the generation of artificial sound fields. A fine-grain, modular model of perception is suggested that will allow audio attributes to have perceptual significance with respect to their causal trajectories. This represents an evolution towards the construction of believable sound fields from the traditional geometric, direction based approach to sound spatialisation.
    • Perceptual cartoonification in multi-spatial sound systems

      Lennox, Peter; Myatt, Tony; University of Derby; University of York (24/06/2011)
      This paper describes large scale implementations of spatial audio systems which focus on the presentation of simplified spatial cues that appeal to auditory spatial perception. It reports a series of successful implementations of nested and multiple spatial audio fields to provide listeners with opportunities to explore complex sound fields, to receives cues pertaining to source behaviors within complex audio environments. This included systems designed as public sculptures capable of presenting engaging sound fields for ambulant listeners. The paper also considers questions of sound field perception and reception in relation to audio object scaling according to the dimensions of a sound reproduction system and proposes that a series of multiple, coordinated sound fields may provide better solutions to large auditorial surround sound than traditional reproduction fields which surround the audience. Particular attention is paid to the experiences since 2008 with the multi-spatial The Morning Line sound system, which has been exhibited as a public sculpture in a number of European cities.
    • Performing geopower: Eile and border-fictioning

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (Intellect, 2020-12-01)
      Since 2016 we have developed the Eile Project (EP), a transdisciplinary investigation of the border in Ireland which centres around site-responsive performance and audio-visual films in a process and praxis that we call border-fictioning. Through this practice we ask how the border might be differently understood, experienced, critiqued and altered through affective encounters in the artworks produced between bodies, the earth and sovereign power. In this paper we explore (somewhat experimentally) our notion of border-fictioning in the EP, specifically through one of the piece’s ‘experiments’ (#3 Territories of Eile). We draw on a specific concept, that of geopower, and a specific diffractive method. Geopower, or the forces of the earth itself (Grosz, 2008, 1999, 2011; 2017), allows us to comprehend and conceptualise the geo (earthly, material, affect, power) and the human (bio, anthropic, biopolitics, body, power) together in specific ways. A diffractive methodology (Barad, 2007; Haraway, 1992; Trinh, 1986) sees the production of knowledge and meaning as inextricably connected to (entangled with) the social and material practices of the world. The paper offers a discussion of that which emerges from a diffractive approach to border-fictioning in light of the concept of geopower. We show that geopower enables us to see the ways in which the EP's border-fictioning through performance and audio-visual film constitutes a particular kind of capitalisation of the earths forces - radically different from those of capitalism and sovereign power, and potentially resistant to colonial histories, and suggests new alliances and imaginaries that allow us to work-through the complex condition of the border and partition in Ireland through the entanglement of human (anthropic) and earthly (non-human) concerns within the tensions of the Anthropocene. Publication delayed due to Covid-19.
    • The personal development planning cycle.

      Bryson, David; University of Derby (2011-12)
      This Learning and CPD sheet is designed to pull together into a framework many of the activities that have already been published. It should also help anyone planning to go for audit of their CPD or who have been requested to submit for audit. There are a number of different ways of viewing the Personal Development Planning (PDP) or CPD cycle; the one covered here is just one example and shouldn't be seen as the only way of looking at PDP. For a greater range of activities, look at the book "Skills for Success: The Personal Development Planning Handbook" by Cottrell and the companion website.
    • Personalising your learning.

      Bryson, David; University of Derby (2009)
    • Perspectives on musical time and human/machine agency in the development of performance systems for live electronic music.

      Vandemast-Bell, Paul; Ferguson, John; University of Derby; Griffith University (08/09/2017)
      This paper investigates the exploration of musical time in Live Electronic Music and discusses the authors’ novel, technological systems that embrace experimental processes and discovery. Prevalent theories of creativity are investigated, as well as tools and techniques that can be utilised to provoke unanticipated, but satisfying outcomes. The exploratory use of digital tools and chance operations is considered alongside more determinate predictable processes. While musical metre in commercial music production often revolves around metronomic timing, and the industry-standard quantization grid can often steer producers towards chronometric precision, this is at odds with expressive human timing. By standardizing the way in which we perceive musical time, much commercial software fails to recognise the full worth of musical metre and misses opportunities to explore alternative modes of rhythm and groove. However, some software does include a capacity to move beyond quantization grid restrictions and delve into an exciting world of complex timing, and graphical programing/generative music can also offer exciting possibilities. This paper reflects on a number of practical experiments and new works that foreground rhythmical complexity. Some familiar historical examples are also contextualised alongside relevant contemporary artists. The authors foreground their own practices; Ferguson draws from recent work including ‘Drum Thing’, which celebrates the automation of percussion objects using computer-controlled solenoids, with software written in Pure data this project explores various approaches to randomisation with an Euclidean rhythm generator, where the greatest common divisor of two numbers is used rhythmically to drive beats and silences. Ferguson also discusses his work with ‘Circles’, where semi-random/quasi-intelligent sequencing and the creative negotiation of imagined agency is the main agenda. Vandemast-Bell’s work draws on contemporary Techno music in which he explores techniques not unlike those pioneered by Steve Reich and later developed by Brian Eno in their experiments with phase. He uses original electronic source material that is presented then deconstructed and improvisationally reimagined in real-time, to create synchronous / asynchronous rhythms and textures. Dynamic audio looping plays a central role in his performances and is invoked through Native Kontrol’s MIDI Remote Scripts for Ableton Live that extends Live’s looping potential. He uses a custom Ableton Push controller mapping to interact with the electronic material, which is evolved through the use of audio effects and dynamic processors. The overall agenda is to elucidate the role of human/technological agency. The authors reflect upon and compare/contrast their individual practices, from initial concept through creative process to final realization. Further to these individual perspectives, they collaboratively develop and discuss new musical materials and algorithmic processes using Pure data, these patches will be published with the paper, the overall goal being to encapsulate their collaborative perspective on the generation of complex rhythmical material in Live Electronic Music.
    • The philosophy of perception and stupidity

      Lennox, Peter; University of Derby (10/07/2015)
      Of all the strange phenomena in the so-far-known universe: exotic particles, black holes, dark energy/matter, 9-dimensional strings, none is stranger, more implausible or mysterious than the one right under our nose: perception. Perception does not simply consist of processing recentlyreceived sense data—that’s the smallest part of it. Perception fundamentally attempts the impossible: to try to reduce our situational ignorance to manageable proportions, to know the future. More, it is aimed at choosing the right future— the one that still has the perceiving organism in it. Repeat, ad infinitum until ultimately, it ends in failure. Ignorance is simply: not knowing, and is something we are all faced with every day. Stupidity lies in not knowing what it is that we don’t know, behaving as though we do know. A special kind of stupidity consists in hiding the extent of our own stupidity from ourselves. A criminal kind of stupidity consists of imposing our stupidity on others. The story of the evolution of intelligence is also the story of the rise of increasingly complex forms of stupidity. Academic study is the process of traveling to the frontiers of known territory to reach the edge of the land of ignorance, where we are all idiots. Research is simply an extension of the principle of perception, the impossible attempt at stupidity reduction. Stupidity is a fundamental feature of organic life, a driving force that underpins all development. Many study perception but few systematically study stupidity. Yet.
    • Photograph: Dr Paula McCloskey presenting her lecture art, maternal and matrixial encounters at the Mother Voices midsummer eve's potlach and the launch of the Mother Voices foundation.

      McCloskey, Paula; University of Derby (2014-07-21)
      Art, Maternal and Matrixial Encounters: was an invited talk I gave in Rotterdam, NL at the Witte de With Center for Contemporary Art event with (m)Other voices. This research explores the research question below. It forms part of the ongoing iterative research which weaves through my arts practice and art writing. This research is located in my PhD research Art, Maternal and Matrixial Encounters (University of Sheffield, 2014). Working with maternity as a thinking apparatus and as integral to my practice is manifested in the collaborative arts practice ‘a place of their own’ (see link), and various distributed pieces of writing, talks and art projects. The concept of the matrixial recurs in this work, referring to artist and psychoanalyst Bracha Ettingers’ matrixial theory which explores the lasting legacy of the intrauterine encounter between the I (foetus in late stages of pregnancy) and non I (pregnant woman). Throughout this work the research question is: if maternity is taken to be a thinking apparatus, a concept, an encounter, as well as a lived experience what insights and new knowledge might emerge from arts practice and art writing that explores the complex entanglements of ‘maternity’ (in its broadest sense) and art?
    • Photography of operative techniques and pathology during arthroscopy using a second arthroscope.

      Bryson, David; University of Derby (1997-03)
      The use of two arthroscopes is recommended to reduce the time needed for photography eliminating the need to remove video control from the main arthroscope, to record pathology and operative techniques for teaching without an additional light source.
    • PhotographyDigitalPainting symposium

      Robinson, Carl; University of Derby (2019-10-23)
      The "PhotographyDigitalPainting" symposium was a one-day research event held at the QUAD Arts Centre Derby UK, on the 23rd October 2019 that continued the investigations begun with "PaintingDigitalPhotography" into how artists and theorists currently engage with the interrelationships of photography, the digital and painting. The first conference revealed the breadth and depth of work and analysis being undertaken in this area, from John Hilliard’s photographic practice referencing a painterly vocabulary, to the digital work of Gerhard Richter. As continuous advancements in digital technology radicalizes, repositions, and re-defines traditional mediums, it is evident that the vast and rapidly expanding range of interconnected practices in this field require much further explication. This second event therefore aimed to look further into these connections by asking how photography, the digital and painting are synthesized in contemporary art practices and what theories are being developed to support this. In what ways do these mediums inflect/infect one another, what does this fusion tell us about their discrete natures, and what new forms are created through this combination?
    • PhotographyDigitalPainting: Expanding medium interconnectivity in contemporary visual art practices

      Robinson, Carl; University of Derby (Cambridge Scholars Publishing, 2020-10-01)
      This anthology follows PaintingDigitalPhotography: Synthesis and Difference in the Age of Media Equivalence in the series of books exploring connections between photography, the digital, and painting in contemporary art practices. While there is much research being undertaken into the mediums under discussion as discrete concerns in the digital age, there is little investigation into their combination. As photography, the digital, and painting frame the contemporary visual discourse, a rigorous investigation into this relationship is much needed. This series of publications undertakes this by leading the research into questions of medium-fluidity in contemporary visual art practices. The authors are renowned artists, senior academics, theorists, and younger researches contributing to the field of study, and their essays address a wide range of interrelated topics. These include: A. I. generation of digital imagery, hyperreal photographic visions of the world, the embodied experience of the painter, and art practice that synthesises the three mediums, amongst others. This volume will be of particular interest to scholars, academics, and researchers studying the associations of these mediums in the digital age.