• Teaching an old dog new tricks.

      Bartram, Angela; University of Derby (15/07/2018)
      At a recent animal studies conference I noticed that although discussions were of the subjects being sentient and cognate, the delivery was for humans. Essentially, animals have no opportunity to understand the theories written about them. For the past year I have been reading animal theory to dogs, cats and horses and now it is time for a lecture for dogs and their humans about dogs in art. ‘Teaching an Old Dog New Tricks’ is a different type of lecture for an interspecies audience and extended ‘pack’.
    • Team based review and reflection.

      Bryson, David; University of Derby (2010-03)
    • Technical theatre: a practical introduction

      White, Christine; Loughborough University (Hodder Education, 2001)
      When we think of the theatre, we primarily think of the play and the actors. But there is so much more that goes into a theatrical production - the staging, the lighting, the props, the scenery, the costumes, and the sound effects. All these important components make up 'technical theatre'. 'Technical Theatre' introduces students to this broad range of technical elements and to the specific technical roles within a theatre company. The book also includes a host of practical exercises and provides non-specialist students with a basic understanding of the technical side of theatre.
    • TEN – Crossing Borders to Border Crossing

      Davies, Huw; Pollock, Venda; University of Derby (Berwick Film & Media Arts Festival / ACE / BFI, 2014-09)
      Book published as part of the 10th Anniversary of the Berwick Film and Media Arts Festival (BFMAF) (2014). Outlines and evaluates BFMAF’s contribution to moving image arts practice both past and present in the context of a curated international festival and includes documented highlights of the commissioned work over the previous decade. TEN was edited by Davies in his role as Festival Founder, Chair and Co-Curator, with contributions from Davies (This Town is the Screen), Pollock (Frontiers, Boundaries and Peripheries: creativity in rural contexts) and various artist authors.
    • The Terre Ice Chandelier

      Locke, Caroline; University of Derby (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. The Terre Ice Chandelier uses data in connection to climate change and impacts by connecting people through interdisciplinary art practices to the Earth. The Terre Ice Chandelier uses the rate of Arctic sea ice melting recorded by The Scott Polar Research Institute to control a dimmer unit which brightens and dims the light given off by the ice chandelier. The heat from the light melts the ice over time and the dripping water falls onto a hotplate below to creating a sizzling sound as the water evaporates. Caroline worked with Programmer Noel Murphy to develop her performing data projects, finding new ways to use new technologies to control or operate mechanisms and sculptural elements. The work was filmed in slow motion (160fps) using University of Derby's specialist Sony F5 Camera and a 4 screen video installation has been developed. The output in May 2020 was delayed by Covid-19
    • Territories of Eile, film screening

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2019-07-20)
      Territories of Eile is a short film from the Eile Project. Eile Project (2016-ongoing) is a transdisciplinary investigation of the UK/Irish border and its complex entanglement of colonialism, migration, border-imperialism and geopolitics. The project creates site-responsive performances on the border, from which sculptures, soundscapes, films, texts develop that enact ‘border-fictioning’: a resistant practice to oppressive manifestations of nation-state borders. These live performances capitalise on the forces of the earth to enact what Grosz, Povinelli and others refer to as ‘geopower’ as a form of resistance to colonial practices.
    • Terry Shave: a hybridised-synthesised practice

      Robinson, Carl; University of Derby (Cambridge Scholars publishing, 2020-10-01)
      Terry Shave is an artist who works with the mediums of painting, the digital, and photography in his mixed-media works. Carl Robinson interviews Shave about his practice, with particular focus on whether a synthesis of mediums occurs when they are subsumed under an overlayer of resin.
    • The contemporary animal

      Baker, Steve; University of Derby (2015-06-18)
      ‘The contemporary animal’ was a keynote address for the conference Visualising the Animal at the University of Cumbria in June 2015. Building on ideas developed in my plenary paper for the Portraying Animals conference at the National Gallery in Prague the previous month, this paper had a stronger photographic emphasis reflecting the interests of both the conference organizers and the delegates, many of whom were themselves artists. The abstract for my paper read as follows: ‘A recent book on contemporary art proposes that “the photographic is not merely a particular art, or a particular kind of art. It is the currently dominant form of the image as such.” But for artists who use photography to explore questions of animal life, what is it that makes contemporary art about animals “contemporary”? How easy is it to maintain a critical engagement with the forms of current art practice at the same time as attending to the condition of nonhuman animals? … Contemporary animal imagery that fails clearly to signal its contemporaneity will struggle to reach beyond a small audience already engaged by its subject matter but largely oblivious to its form – its work – as art. Drawing on the work of artists using photography (including some of my own work), this talk will consider aesthetic, rhetorical, pictorial and curatorial strategies that might conceivably edge forwards the project of “visualising” the contemporary animal’. As a result of a meeting at the conference with Martyn Rowe, editor of Lantern Books in New York, when he subsequently became Co-Vice President of the US-based Culture & Animals Foundation (which provides grants to artists working in animal advocacy and animal studies) he immediately invited me to join CAF’s Advisory Board – a role of which I’m particularly proud.
    • The contemporary animal

      Baker, Steve; University of Derby (2015)
      This closing plenary paper for Portraying Animals explains why serious contemporary art on animal themes in the 2010s needs to take recognizably contemporary forms in order to reach audiences beyond those who already share its particular ethical concerns. In 2013 Giovanni Aloi, editor of Antennae: The journal of Nature in Visual Culture and a significant thinker on art and animal studies, publically announced his intention to distance himself from what he dismissively termed the ‘minor propagandist art’ produced by artists associated with animal studies, and instead to focus on animal imagery made by artists with an established international profile such as Damien Hirst and Mat Collishaw. My own writing from the late 1990s to my 2013 book Artist|Animal had focused on valuing contemporary artists’ distinctive contributions to the wider interdisciplinary field of animal studies, concentrating on those artists directly concerned with questions of animal life. ‘The contemporary animal’ is a position paper outlining a clear alternative to Aloi’s priorities, charting what has already been achieved by these artists and marking out a way forwards that would strengthen this field of creative inquiry. Drawing directly on Peter Osborne’s 2013 Anywhere or Not at All: Philosophy of Contemporary Art, the paper Identifies how and why the formal and conceptual characteristics of contemporary art identified by Osborne are a good fit with much of what is already happening in socially and ethically engaged art. It also argues that the subtlety with which Osborne characterizes contemporaneity creates opportunities for artists with particular agendas to reshape the forms of contemporary practice without diminishing their recognizable relevance and contemporaneity. This paper reset the agenda for much of my subsequent writing (including my keynote for The Animal Gaze Constructed in March 2020), and the ideas first explored there continue to inform my own art practice.
    • The disorderly animal in contemporary art

      Baker, Steve; University of Derby (2020)
    • The disorderly animal in contemporary art

      Baker, Steve; University of Derby (2017)
      ‘The disorderly animal in contemporary art’ was a public lecture delivered in March 2017 at Eastern Kentucky University as part of the University’s annual Chautauqua Lecture series. The overall theme of the 2016-17 series was ‘Order and chaos’. The lecture doubled as a keynote address for the 3rd Biennial Living with Animals conference on the theme ‘Co-Existence’, being held at the University at the same time. An immediate practical concern was how to pitch the lecture to two very different audiences sharing the same large lecture theatre, not to mention their rather different expectations of the thematic focus of the talk. An additional difference was that unlike the conference delegates, the local annual Chautauqua Lecture audience was unlikely to know much about either my writing or my art practice. The material I was discussing was the work and the attitudes of a number of contemporary artists, myself included, who engage with ideas about the more-than-human world. I decided to structure the talk around three broad questions. First, why did contemporary art about animals take the shape that it did in the late 20th century? Second, how do contemporary artists think about their work, and how do their artworks work? Finally, what has changed in recent years, and why? This gave me an opportunity to revisit some of the more abrasive artworks discussed in my 2000 book The Postmodern Animal, and to contrast them with some of the quieter but generally more effective works discussed in my 2013 book Artist|Animal, which drew on my detailed interviews with artists. The last of my three questions allowed me to draw attention to the exhibition Co-Existence, curated by Julia Schlosser and Alexandra Murphy, which included some of my work and which was held at the University as part of the Living with Animals conference.
    • The necessary gaze

      Baker, Steve; University of Derby (2020)
      The research question informing this keynote address is as follows: What might currently constitute an adequate approach to the visual representation of animals? This question has been central to my research as an art historian and animal studies scholar since the early 1990s, and to the development of my current art practice over the past decade. By an adequate approach, I refer to the construction of imagery that avoids anthropocentric assumptions and is recognizably contemporary. In recent decades many scholars and artists in the arts and humanities have constructed critiques of representation, the pictorial and the gaze, often casting these notions and practices as aesthetically conservative and ethically dubious. An unusually subtle and persuasive expression of this line of thought within animal studies can be found in Rosemarie McGoldrick’s recent essay ‘Unscoping animals’. I consider some of that essay’s arguments in order to shape my own counter-argument for a ‘necessary gaze’, drawing both on Elaine Scarry’s discussion of generous attention and Iris Murdoch’s notion of ‘a just and loving gaze’. My own practice has focussed increasingly on the construction of particular kinds of pictorial space. It is only in retrospect (via ideas adapted from Deleuze and Guattari and from Ron Broglio) that I have been drawn into considering whether and how certain kinds of pictorial space might be less anthropocentric than others, and how that might influence the presence or absence of animals in my recent work. (The exhibition that accompanied the symposium included three photographs from my 2019 series Fish Market, Lagos, with a supporting statement that also appears in section 9 of this keynote address.) The address concludes with a report on a collaborative project-in-progress with the Melbourne-based artist Catherine Clover, in which our focus is on the representation of white storks in European urban environments.
    • The predictive scenographer: Performance design as predictive affordance-o-graphy

      Penna, Xristina; University of Leeds (27/11/2018)
      We are finding parts of ourselves, playing, playing with the light, unexpected events […] wood, fabric, cameras, sound equipment, and a bit of alcohol. Shades of red, grey, it is pretty dark, you cannot see much. It provokes you in terms of fiction. (Participant S3, practice-research project Work Space III, October 2015). In hybrid and participatory performance environments, the audience’s position constantly shifts and is not contained within a viewing area, like in traditional forms of theatre, raising questions for the performance maker such as: How do I design the distribution of the experience of the audience? How do I contextualise this distribution? How do I frame this experience; and the feelings generated by a distributed design? In this paper, I will reflect through specific performance practice on how the free-energy principle (Friston 2011) and PP (Clark 2013) can be useful for a performance designer (scenographer) as a method for performance making but also as a way of contextualising what participatory performances do and how they do it. The audience–participants’ predictive brains are understood to get a grip on multiple fields of affordances (both material, cultural, etc.) simultaneously, and these become interweaved in the circular causal weave between embodied brain and world. The plurality of possible fields of interrelations the audience–participants make in relation to the design stretch across interoceptive, proprioceptive, and exteroceptive information, providing “a rich new entry point for accounts of experience, emotion, and affect: accounts that do not compartmentalize cognition and emotion, but reveal them as (at most) distinctive threads in a single inferential weave” (Clark 2015: 296). WS III’s scenography could be described as an embodied, and ecological playful. prediction algorithm that had the audience–participants as anticipating errors predicating the next moves in order to maintain the organisation of the performance system..
    • The redescription of the world

      Baker, Steve; University of Derby (2014)
      ‘The redescription of the world’ was a public lecture (the Volmer Fries Distinguished Lecture) for the symposium Sensibilities: Artists and Living Systems, Animals and Plants, in the EMPAC Theater, Troy, New York, in April 2014. The abstract for my lecture read as follows: ‘A persistent problem in the relation of art and theory is the tendency for artworks to be appropriated as mere illustrations of theoretical perspectives. If anything, the problem is exacerbated in the case of art that engages with questions of animal life, where both the art and the animals are frequently drained and flattened in the process of their theoretical appropriation. How might this be resisted? How might the work of language and the work of material animal form find productive common ground without one diminishing the other? The relatively modest notions of description and redescription will be explored in order to build on Niklas Luhmann’s resonant observation that “the function of art is to make the world appear within the world.”’ The lecture included discussion of work from my Scapeland series, which I gave as one of my examples of how artworks might be understood as flawed, provisional redescriptions of the world, by means of their offering what Luhmann calls ‘improbable evidence’, and subject to what Adam Phillips sees as ‘unknowably further’ redescription. One particularly productive and unexpected outcome of the lecture was a meeting the following day with two members of the audience who wanted to find a way to show further work from the Scapeland series in the USA. This led directly to my participation in the exhibition What Does Art Add?: Figuring the More-than-Human World, City Without Walls (cWOW), Newark, New Jersey ,10 April – 29 May, 20155, curated by Janell O’Rourke and Kathryn Eddy.
    • Things we didn’t have before

      Fisher, Craig; University of Derby (Pump House Gallery, 2015)
      For the exhibition, ‘things we didn’t have before’, Pump House Gallery transforms into a cabinet of curiosities. Each of the gallery’s floors serve as different compartments, a treasure trove of wondrous artworks and objects that await discovery. Supported by curator Hannah Conroy, local recovery group CDS Wandsworth have selected artworks and objects to form a new public collection that tells the unique and unexpected stories behind objects and their creators or collectors. Each year Pump House Gallery works with a different Wandsworth community-based group for its annual Open Call exhibition, with the aim of providing contemporary art experience, knowledge and practice through the development of a public exhibition. Over 100 arts practitioners and collectors submitted their unusual and intriguing objects and artworks for consideration. Over six sessions, the curatorial group made its final selection of pieces by 20 artists and collectors and determined how to present these within the Pump House Gallery setting. ‘things we didn’t have before’ is an exhibition that presents both a collection of objects and a collection of the stories that accompany them, and how these are read is unique to each gallery visitor. Fisher presented his ongoing series ‘Homemade Devices’ working with the curator to explore and reconsider the methodologies of display and staging for the works by showing the works on a specially constructed shelving unit within one of the central gallery spaces. Included artists; Terry Barber, Tom Buchanan, Maria L. Felixmüller, Craig Fisher, Matt Gee, Paolo Giardi, Greta Hauer, Kevin Hunt, Scott Joseph, Morwenna Lake, Mindy Lee, Sonia Levy, Jammie Nicholas, Marina Rees, Sue Ridge, Cyrus Shroff, Hazel Stone, Julia Zastava, Willow Rowlands, Yoke and Zoom. Fisher was invited by Pump House Gallery to contribute to an in-conversation event, ‘When an object becomes a thing’ on 5 December 2015 alongside artists, Lauren Godfrey, Greta Hauer and curator, Hannah Conroy. Using this ambiguous statement as a starting point, the event aims to delve deeper into conversation instigated by the exhibition itself: the point at which an object transcends its inanimate status and is imbued with significance beyond its immediate visual quality or utilitarian function.
    • Thirteen

      Shore, Tim; Brown, Michael; University of Derby (10/09/2016)
      Thirteen interrogates the history and significance of 27/28 Queen Street, Derby, a now derelict building that was once the home of John Flamsteed (1646-1719), the first Astronomer Royal. A series of works, including a digital animation, gifs, digital prints and an artist’s book. The work will be exhibited at the Wirksworth Festival 2016 and also at Derby Cathedral. The publication will include commissioned essays that consider the themes of Thirteen from range of disciplines, it will be published by QUAD. Before moving south to Greenwich in 1675, Flamsteed compiled a ‘great catalogue of the stars’ from a series of observations all based on a Derby Meridian that ran through the back garden of his Derby home. The place from where the position of every other place – on Earth, and in the Heavens - was determined was in his back garden in Derby. Thirteen considers the resonance of Derby having shifted from being the centre or beginning of the world, to being 5 minutes 54.6 seconds behind. Thirteen was commissioned by D-LAB Digital Art in Derbyshire and supported by a University of Derby College of Arts Research grant. Digital animation by Tim Shore. Sound by Michael Brown.
    • This is Derby Reimagined: S.H.E.D School Tour

      Jones, Rhiannon; University of Derby; Derby Theatre (University of Derby, 2019-10)
      S.H.E.D was commissioned by Cultural Campus and Arts Council England Youth Performance Fund to support the planning and evaluation approach for the project through using S.H.E.D as a creative and cultural space for artistic practice and discourse with a targeted number of schools and their local communities. From Jones’ perspective this research activity enabled S.H.E.D to ask the following research questions: • What impact can a mobile arts space designed for talking have on cultural, social and political discourse? • What impact will S.H.E.D have on its partners and on the theory of place shaping? • How does S.H.E.D facilitate an opportunity to rethink about the ambitions for S.H.E.D to be a literal and metaphorical vehicle for the transformation of dialogue? In Partnership with This is Derby Cultural Producer and Derby Theatre the S.H.E.D facilitated workshops with cultural delivery partners to plan a bespoke series of activities and events within S.H.E.D and programmed a tour to 5 schools. The schools were selected and the locations for the site-specific engagement of S.H.E.D within their school grounds was researched and carefully planned. The participating schools were St Martins School, Pear Tree Primary School, Kingsmead (The Castle), Derwent Primary School and Firs Primary School. Delivery partners were, Quad, Artcore, Baby People, SifoniaViva, Deda, Derby Theatre, Blazers Basketball, Drummersize, pound fit, EMCCAN Carnival Group, Derby County Community Trust Football sessions and Hubbub. Over the course of the tour S.H.E.D and cultural coordinators, working closely with Dr Jones, facilitated sessions on dance, sport, drama, music, art, film making and carnival. In addition to this, the research activity /tour also supported data collection through its creative programming of activity, acting in this way as a consultation space. Questions such as “what is Derby to you?/Where do you feel safe/unsafe?/What would you like Derby to be like in the future?” To this end, S.H.E.D was able to operate as a dialogic site through its bespoke design as an Inter/transdisciplinary vehicle for (social) scientists/humanities scholars to interact with artists and engage public/others. S.H.E.D was commissioned by Derby Theatre and the Derby Opportunity Area Partners, through the Arts Council England Awarded Youth Performance Fund. This research activity with S.H.E.D was to support the planning and evaluation approach for the project using S.H.E.D as a creative and cultural space for artistic practice and discourse with a targeted number of schools and their local communities. S.H.E.D engaged with 1,351 school staff and children.
    • This is Derby: dialogic activism

      Jones, Rhiannon; Craig, Tom; Manning-Jones, Alix; Barth, Caroline; Turner, Will; University of Derby; Derby Theatre; Derby County Community Trust (Arts in Society, 2019-06)
      This paper explores the artistic research project "This is Derby" undertaken by University of Derby, Derby County Community Trust and Derby Theatre; the only Learning Theatre in the UK. The project engaged targeted participants living within identified areas of deprivation from the city of Derby. The research aimed to design a dialogic methodology using a "grass roots" approach to provide young people with free art activities. Examples will be provided in the paper of how the research was undertaken, what and how key barriers were identified by both schools and parents; including the lack of cultural integration outside of school time in the UK and the impact of lacks in financial or family support. The paper shares models of best practice whilst highlighting the value of having undertaken an artistic and dialogic methodology. The impact of the project is extensively noted within UK contemporary social contexts and as a result of the findings, 9 community hubs and a virtual hub were created. "This is Derby" was a collaborative research project that has provided essential life skills for young persons in socio economically deprived areas of Derby, resulting in social mobility and new access to the arts. This paper disseminates both the design and impact of the research proposing that dialogic methodologies are an instigator for change in order to enable and empower younger persons. This is Derby has produced dialogic methodology that has actively contributed to the future cultural offering in the city of Derby and impacts on art research. Dr Rhiannon Jones’ research activity, and conference attendance was fully funded by Derby County Community Trust. Dr Rhiannon Jones, Caroline Barth, Will Turner and Alix Manning-Jones presented the paper at The Arts in Society, 2019, as part of the special focus series.
    • The thoughtful potter and the politics of pots

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

      Levesley, Richard; University of Derby (2017-03)
      Research into small publishing projects. Exploration of current market competition in illustrated publications and zines. An extensive investigation into risograph printing process in order to create limited edition publication.