• Victoria Lucas lay of the land: landscape and other stories.

      McCloskey, Paula; University of Derby (Airspace gallery., 2017-05)
      A critical essay exploring the themes in Victoria Lucas' exhibition 'The lay of the land and other stories'.
    • "Visual media primitivism: toward a Poetic Ethnography’"

      Nicoletti, Martino; University of Derby, School of Art and Design (Oxford-New York, 2013)
      This article – based on an experimental research carried out by the author in Thailand and founded on the systematic employment of vintage analogue lens-based media – provides an original contribution to the epistemology of visual anthropology and to its relation with contemporary visual art practices.
    • Wales on Film: Memory, Identity, Politics

      Bosward, Marc; University of Derby (2019-05-11)
      The paper will present a practice-based project that addresses the history of South Wales through the materials held at the National Screen and Sound Archive of Wales. Informed by critical realism, the work investigates the capacity of collage methods in negotiating archive film to uncover marginalised aspects of the past that are obscured by dominant narratives. Consistent with the fluid, plural conditions of memory and identity, the research regards archive footage as a site of malleable social meanings that are contingent on varying contexts of appropriation, recontextualisation and reception. In contrast to conventional documentary representation, the practice is underpinned by the argument that alternate, experimental strategies that foreground layering, fragmentation and ambiguity are better suited to represent the complexities of history. The project asks if a deeper understanding of the past can be apprehended through the construction and mediation offered by the vocabularies of archive film and collage.
    • Water-fountain-sculpture

      Locke, Caroline; Wermers, Nicole; Pye, William; Janzing, Godehard; Bussman, Valerie; German Forum for Art History; University of Derby (Henry Moore Institute, 28/01/2017)
      This seminar event explored how water and fountains have been used by artists and sculptors for a variety of purposes. The afternoon began with a discussion of Marcel Duchamp's 'Fountain' (1917) and examined more recent examples of water sculpture such as the memorial at Ground Zero. In collaboration with Dr Godehard Janzing (Deutsches Forum für Kunstgeschichte), Valerie Bussmann (independent), Nicole Wermers (artist), William Pye (artist) and Caroline Locke (artist). Godehard Janzing discussed ‘Falling Waters at Ground Zero: when Terrorism turns into Nature’ and how the use of the symbolism of water becomes problematic in this context. Valerie Bussmann continued the theme of the city with an examination of the relationship Paris has with water as both necessity and art. Water as a sculptural material was explored by Nicole Wermers, focusing specifically on her 2011 series ‘Wasserregal’ (‘Watershelves’). William Pye has long been inspired by water and first introduced it as a major sculptural element in his work in the 1980s. Caroline Locke shared the themes of water and vibration, which have formed a key part of her practice and focused on her use of water in connection with her Performing Data projects. She has used her water fountains to animate certain data sets in connection with the human body and environmental data.
    • What kingdoms may come

      Rushton, Stephanie; University of Derby (Triennial of Photography Hamburg, 2015-06-18)
      Photography Exhibition 'What Kingdoms May Come' at Container City part of Eight museum exhibitions under the motto THE DAY WILL COME The international photo festival Triennial of Photography Hamburg brought out the best in Hamburg as a city of photography, with numerous photo exhibitions and events at various locations spotlighting the theme of “The Future.” From 18 – 28 June 2015, international photo professionals and enthusiasts met at the Alster. The ten days of the festival featured an extensive program of events.
    • When choreography marries digital projection.

      Marshall, Alice; University of Derby; University of Derby (Intellect, 2016-12-01)
      As a choreographer, I have always had a keen interest in fusing movement with other art forms and in being able to achieve this seamlessly. Each art form is as important as another; therefore making this a reality can be challenging. However, in my work I have discovered that the use of movement with digital projection is one that has a real connection. The two have a symmetry that is aesthetically pleasing, but my work to date had never had a real ‘marriage’ of the two forms. One always came before the other; never did the two coexist to arrive at the same point. During 2016, Illuminos (digital artists www.illuminos.co.uk) and I set about our biggest challenge to date: creating a full-length production that did not just fuse dance with digital, but dance with digital, music and storytelling. Our aim was to create a show based on the myth of Daedalus and Icarus. It would explore the story, highlighting the journey it takes from the ground to the sky and back again. Most importantly the piece was to demonstrate how projection can create the illusion of height and weightlessness, with imagery dictating the movement, and how the movement can dictate the imagery when the journey reverses. In simplest terms we wanted to find a cohesive process that allowed not just one aspect to dictate the other: a happy marriage between choreography and digital projection, all portrayed through our show, Icarus. This article will explore that journey.
    • When The Future Comes

      Locke, Caroline; University of Derby (Nottingham Contemporary, 2018-06-30)
      An afternoon of talks, artworks and a workshop that looked to the future as the environment and climate is changing. Featuring Dr John King, Senior Scientist at the British Antarctic Survey, artists Dr Rachel Jacobs, Caroline Locke, Frank Abbot, Juliet Robson, Wallace Heim, Matt Watkins, Dominic price, Horizon Digital Economy Research (University of Nottingham) and Prof Esther Eidinow, Professor of Ancient History (University of Bristol). The activities explored how we respond to climate change through a combination of art, science, technology and in our every day lives by presenting 'Performing the Future' an artist/research project led by Dr Rachel Jacobs. Caroline presented some of her current research and artistic practice in relation to science and climate change, including her Frequency of Trees, Significant Trees, association with The Woodland Trust and Smoke in the trees experiments with Jacobs and Watkins.
    • When the image takes over the real: Holography and its potential within acts of visual documentation

      Bartram, Angela; University of Derby (MDPI Open Access Journals, 2020-02-15)
      In Camera Lucida, Roland Barthes discusses the capacity of the photographic image to represent “flat death”. Documentation of an event, happening, or time is traditionally reliant on the photographic to determine its ephemeral existence and to secure its legacy within history. However, the traditional photographic document is often unsuitable to capture the real essence and experience of the artwork in situ. The hologram, with its potential to offer a three-dimensional viewpoint, suggests a desirable solution. However, there are issues concerning how this type of photographic document successfully functions within an art context. Attitudes to methods necessary for artistic production, and holography’s place within the process, are responsible for this problem. The seductive qualities of holography may be attributable to any failure that ensues, but, if used precisely, the process can be effective to create a document for ephemeral art. The failures and successes of the hologram to be reliable as a document of experience are discussed in this article, together with a suggestion of how it might undergo a transformation and reactivation to become an artwork itself. Available in the edited book, 'Holography: a Critical Debate Within Contemporary Visual Culture' by Andrew Pepper.
    • Who Are We, Where Do We Come From, Where Are We Going To? Greek Cypriot Women Artists in Contemporary Cyprus

      Photiou, Maria; Loughborough University (Taylor & Francis Publishers, 2012)
      This article is about Greek Cypriot women artists. In particular it concerns their art, their careers, and their relation to politics; the way they were influenced by politics in Cyprus and how they represented the political upheavals of the time in their own practice. Although all these artists experienced the several phases of Cypriot history in a different way, they all have something in common: the fact that these artists were women living in a colonised, patriarchal country under Greek Cypriot nationality. Their practices are the result of what they experienced and an analysis of their work will reveal the artistic strategies they applied as a response to the politics in Cypriot society.
    • Who are we, Where do we come from, Where are we going to? Writing Greek Cypriot Women's Art Histories in Contemporary Cyprus

      Photiou, Maria; University of Derby (Bloomsbury, 2021-03-25)
      This chapter engages with material so far insufficiently examined in art history: the work of Greek Cypriot women artists. The work of these women artists has received little attention and has frequently been marginalised from official art histories. This chapter develops a framework to explain some of the processes and conditions that affected Greek Cypriot women artists’ lives and careers. It is based on research I carried out for my doctoral thesis at Loughborough University entitled Rethinking the History of Cypriot Art: Greek Cypriot Women Artists in Cyprus. In this chapter I begin with reviewing perspectives on writing Greek Cypriot women artists’ histories. I will address the socio-political conditions from which Greek Cypriot artists emerged and their problematic position, which has been associated with patriarchy and nationalism. This matter is explored by a number of contemporary Greek Cypriot feminists: patriarchal society and national politics left no space for women in Cyprus to struggle for women’s rights, to contest patriarchy or to gain public visibility.2Significant to my discussion is how the socio-political conditions affected Greek Cypriot women artists’ lives and careers. Within this context I will use interview material to refine our understanding of how women artists responded to these socio-political conditions. The works of Loukia Nicolaidou At the Fields (c.1933) and Rhea Bailey Memories of the Yard (1979) will be analysed – their work underlines discourses related to gender relations and socio-political conditions in contemporary Cyprus.
    • The Who of the I: Exhibition, Public Art Work

      Clark, Robert Casselton (2013-04-30)
    • William Melville: Eve of war

      McMahon, Daithi; O'Connor, Fred; University of Derby (Raidió Chiarraí Teoranta, 08/01/2015)
      This detective drama was written and produced to educate the Irish audience about one of their greatest historical heroes, the spymaster William Melville, a.k.a. ‘M’, whose exploits have been largely overlooked by historians. The script, audio style, performances and soundscape were carefully designed to recreate the classic detective radio dramas of the 1940s, offering a unique nostalgic experience for the listener, rarely heard on radio today. Synopsis: It’s 1914. Europe is on the brink of a war that will define the 20th century, and the fledgling British Secret Service, under the command of Kerryman William Melville, must stop a German spy ring operating covertly throughout London before they carry out their deadly operation. Based on real events this drama recreates the plot that pitted the legendary detective, who hailed from Sneem, Co. Kerry, against the Kaiser's ruthless spymaster, Gustav Steinhauer. Once colleagues but now adversaries, each man will stop at nothing to complete his mission. The German plot is to destroy the gold reserves in the Bank of England, thereby shattering Britain's economy and severely hampering or nullifying Britain's war effort. The events are thought to have inspired Ian Fleming to write his best-selling James Bond novel Goldfinger. This programme is part of a special ongoing series of dramas on spymaster William Melville. This production was selected to compete for the Prix Europa 2016 in the Radio Fiction category and won Silver for Best Radio Drama at the New York Festivals International Radio Program Awards 2016.
    • William Melville: The Queen's detective.

      McMahon, Daithi; O'Connor, Fred; University of Derby (Radio Kerry, 2014-05)
      In this classic detective drama, set in the summer of 1889, Melville’s skills are put to the test as he is assigned to protect the visiting Shah of Persia as Fenian anarchists aim assassinating the royal guest. This drama is based on actual events and creates an intriguing insight into the world of political intrigue, criminality, and espionage that would have existed in late Victorian London. The drama was produced for the audience in county Kerry where William Melville was from and was intended to educate and entertain the listeners young and old about one of the county's most decorated sons.
    • With a little help from my friends: The Irish radio industry's strategic appropriation of social network sites for commercial growth.

      McMahon, Daithi; University of Derby (IGI Global, 2017)
      Ireland has faced significant economic hardship since 2008, with the Irish radio industry suffering as advertising revenues evaporated. The difficult economic circumstances have forced radio station management to devise new and cost effective ways of generating much-needed income. The answer has come in the form of Facebook, the leading Social Network Site (SNS) in Ireland. Using Ireland as a case study, this chapter looks at how radio station management are utilising the social network strategically in a bid to enhance their audiences and revenues. Radio station management consider Facebook to be an invaluable promotional tool which is very easily integrated into radio programming and gives radio a digital online presence, reaching far greater audiences than possible through broadcasting. Some radio stations are showing ambition and are realising the marketing potential that Facebook and other SNSs hold. However, key changes in practice, technology and human resources are required to maximise the profit-making possibilities offered by Facebook.
    • Woman's Work

      Rushton, Stephanie; University of Derby (2016-09-30)
      An exhibition of photography as the result of an ACE funded 3-week residency at the Airspace Gallery and Potteries Museum in July 2016, looking at gender stereotypes in industry in the Potteries district. The exhibition juxtaposes imagery of women's work from the C19th from the PMAG photographic archive with imagery from 2016 taken by Stephanie Rushton.
    • A Woman's World

      Bartram, Angela; Parker, Christine; University of Derby (2021-09)
      What happens in the daily life of a woman in a DAC nation? What challenges do they face; what delights do they encounter? This artistic research project captures the daily activities of young women living in Mexico or of Mexican decent. The video tells the story of a month that is normal, domestic, and part of the personal and everyday for these women.
    • Wonderland

      Jones, Rhiannon; Nottingham Trent University (2015)
      Wonderland was a research project investigating an artistic methodology into the design of conversation as an artistic practice. The project was launched at New Art Exchange 17 July 2013 to start the 15 month project. It had a specially developed session that considers the impact of modern day life.The public’s voice and ideas were used to provoke a series of events over the duration of 15 months hosted at New Art Exchange to discuss issues that need to be had, from war to politics to Social Cohesion and Restorative Justice. Wonderland: Investing in every part of our diverse heritage and community.The large scale community engaged project embraces learning and participation through the creative arts.Orchestrated by Rhiannon Jones, audience participation was at the heart of all the public events. Key members of the public took part from a wide range of local communities, police force, social workers, academics, refugee organisation, local politicians, local resident and tenants group members, charity organisations, international community representatives, artists, residents, students and writers.Wonderland delivered a series of 90 workshops for diverse community and social groups from across Nottingham city and county. It directly engaged with over 1500 members of the public who attended a range of workshops, live vocal events and pop up exhibitions hosted across the city of Nottingham. These voices and ideas were used to provoke a series of VOCAL events hosted at New Art Exchange to discuss issues that need to be had, from war to politics to Social Cohesion and Restorative Justice. The large scale community engaged project embraces learning and participation through the creative arts, hosted by NAE until summer 2014. Wonderland commissioned 3 artist residences and other training opportunities for emerging artists and graduates. There was a public exhibition of work at Bromley House in 2014. Permanent totem pole sculptures have been installed across the Meadows area in the city. Impact of the research has resulted in two permanent public art sculptures in the city of Nottingham. The international paper delivered at Cumulus Portugal and the findings of the project fed into the PhD research The Artistry of Conversation (2016) The hopes and dreams of Nottingham’s many voices were gathered, discussed and this project stimulated different perspectives through participation and engagement. Rhiannon said a key aspect to the project’s success was its inclusiveness.“ Everyone’s voice matters and can be shared through participating in workshops, vocal events, and large exhibition in summer 2014 at NAE. The project aims to bring people together who care about the impact of modern-day on the people from Nottingham and to give time for everyone to reflect and come together through art to share hopes and aspirations for the future.” Having an honest discussion that challenges us to understand and rethink society in a safe place is an important moment.“As an art space we would encourage creative interventions including debates from diverse communities in order to stimulate new art that transcends and produces knowledge and understanding to create a better place for future generations,” Chief Executive, New Art Exchange, Skinder Hundal.
    • Work space I- a scenographic workshop on consciousness: Scenographic artefact

      Penna, Xristina; University of Leeds (International Federation for Theatre Research, 2015)
    • Work space II: attempts on Margarita

      Penna, Xristina; Eyes, Ben; Graham, Katherine; Carlsberg, Jennifer; Steggals, Lucy; Bradbury, Olivia; Kapsali, Maria; Turner, Alaena; Collins, Esther; University of Leeds (Stage@Leeds, 26/02/2015)
      Margarita is a pile of constantly changing drafts ready to be revised, retold, forgotten, erased… Can we keep Margarita going? This performance installation asks for the audiences’ participation in constructing a collective consciousness: Margarita. It is created as part of Xristina’s Practice Research on performance design, and cognition at PCI using recordings, live performance and ‘scenographic contraptions’. The project contributed to the collection of qualitative data (images, post-show interviews, and participant questionnaires) for the analysis of the interaction between audience-participants, and the scenographic environment. Xristina is testing here a methodological tool brought into her research from her performance design and practice background: the contraption. She situates the metaphorical notion of consciousness as ‘multiple drafts’ following Dennett, who, when trying to explain how consciousness works ‘avoids supposing that there must be a single narrative (the “final” or “published” draft, you might say)’ (Dennett 1991: 113), but rather that there are multiple drafts or ‘narrative fragments’ at various stages of editing in various places in the brain (Dennett 1991: 113). This metaphor is used as a critical design-practice tool (contraption) for generating dynamic and reflective exchange between the audience-participants, the artists-collaborators, the environment and the practitioner-researcher. The audiences’ engagement and experience with this environment is further analysed using embodiment, the socially collaborative and ecological nature of human cognition.The composition of the work consists of pre-recorded voices of friends/colleagues/acquaintances of the practitioner-researcher and of live-streamed voices of random passers-by, answering the same set of questions regarding themselves or a female person they know well. The show is divided in 11 chapters, which correspond to the above questions and form a sonic collage, heard through a surround sound system controlled live by the sound designer, and the lighting designer. Container-structures invite the audience to literally immerse in them and listen to the more intimate audio recordings (i.e. the secret pleasures of Margarita). A folk English song talking about an apple and a head is performed live every 15 minutes, while multiple transcripts of the recordings are printed out ad hoc and placed on the floor for the audience to read; a button box waits to be explored and the lighting designer intervenes live corresponding with different lighting atmospheres. The audience-participants visiting the installation are invited to freely explore this sonic, performed and material environment and piece together the experience of Margarita.
    • Work space III: Phishing things together (the predictive brain)

      Penna, Xristina; University of Leeds (Live Art Bistro, 2015)