• Developing and sharing your CPD portfolio.

      Bryson, David; University of Derby (2012-09)
    • The developing professional

      Bryson, David; University of Derby (Informa Healthcare, 2014-10)
      There is an expectation that we will keep on learning and developing as practitioners. That we will grow in confidence and expertise moving from just qualified to expert in a seemingly smooth transition. Unfortunately like many things in life developing as a professional is not that simple, this paper looks at how we develop as learners and professionals and some of the complexities behind many a learning journey. There will be a number of learning activities attached to this paper some will be appropriate for individuals to undertake, others are more aimed at managers and senior managers and others could be used as themes for departmental discussions or even regional meetings.
    • Découverte de l’artiste’ (discovering the artist): Finding Marion Adnams through her work with a focus on ‘Infante égarée

      Forde, Teresa; University of Derby (2018)
      This video installation expresses the process of research Marion Adnams' paintings and the paper model of Infante égarée in particular. A version of paper model from the original painting has been constructed and animated in order to understand the structure of the original paper doll and to emulate the movement that is implicit in its structure. The animation was then superimposed onto the original painting. Adnams described the figure as lost and wandering in the forest and this sense of dislocation is captured within the twisting movement of the figure and haunting soundtrack. The title of the painting is also restored to Adnams’ preferred French title. The video is part of the Marion Adnams Project and illustrates an interest in practice as a form of research. The video installation formed part of the ‘Marion Adnams: A Singular Woman’ retrospective at Derby Museums and Gallery (Dec 2017-March 2018).
    • Dialects of design education: Exploring an appropriate approach to contemporary interiors in historical buildings.

      Slabbert, Barend; Jordaan, June; Cape Peninsula University of Technology (Leadership Forum on Education, 03/12/2013)
      Due to economic adversities brought on by the global recession, rapid urbanisation of the developing world and the need for sustainable design, a pressing need has arisen to incorporate appropriate and meaningful contemporary interiors in historical buildings. Initial informants of this study identified a need for interior design students to develop awareness and suitable skills to design such regenerating contemporary interiors and that interior design curricula include these critical-analytical skills. This paper provides a conceptual framework that hopes to assist students to achieve the desired coherence contemporary interiors owe their historical environments through the design of multisensory environments. This will be done by exploring the notions of small narratives, neo-plasticism, stratification and detailing. By probing how these principles may be found in two case studies, Castelvecchio in Verona and Museum van de Caab outside Cape Town, this study hopes to indicate how multisensory environments may be analysed and designed.
    • Digital warp blue

      Wells, Kate; University of Derby (2015-11-04)
    • Digital warp blue part of silken threads exhibition

      Wells, Kate; University of Derby (2014-10-24)
    • Dimensions of European wellness: contemporary design and the visions of life and the self: ‘The New Apothecary’s Cabinet II’, mind-body-spirit

      White, Christine; Oddey, Alison; University of Derby; Nottingham Trent University (2016-05-21)
      ‘The New Apothecary’s Cabinet II’, of Mind-Body-Spirit which is a devised, interactive Art Installation, is the second in the series, and investigates what a new apothecary’s cabinet would be as a piece of contemporary furniture, in collaboration with designer Chris White and maker Steve Smith, using machine-made systems, different types of material and wood, reflecting both old and new. Alison Oddey’s research for this creation interrogates how to live well and be happy, and is based on the Foresight Project’s ‘Five Ways to Well-being’, which concluded that five steps incorporated into daily life can fortify mental health and can contribute to a more productive, fulfilling life, as well as a UK survey published by BUPA in 2015 that it is the simple things in life which make us smile. The Cabinet is a provocation to the viewer to interact with the 24 drawers, to connect, be active, be curious, learn and give. There are health gains within the sensory experiences of all drawers to enrich life, bring support, feel good, maintain mobility, appreciate what matters in life, feel satisfied with confidence boosted and rewards of helping others to be happy within the community. The viewer is invited to be creative, to smile and laugh, to experience some feel-good moments in their day, in order to improve and maintain their health, to revive and restore their mind-body-spirit in smells, tastes, listening, touching and new ways of seeing. This project forms part of a sustained programme of research titled ‘The Cultural Value of the Arts for Health & Well-Being’, which employs methods and processes across Art and Science, designed to test and transform perceptions of what it is to live well and be happy, raising public awareness and engagement, to stimulate sustainable, social and cultural debate and significant public dialogue
    • Dimensions of publicness: 24 Gabrovo biennial of humour and satire

      Fisher, Craig; University of Derby (Museum of Humour and Satire, Gabrovo, Bulgaria, 2019-05-17)
      The Gabrovo Biennial of Humour and Satire in Art has a 46-year history and is one of the most prestigious international events held in Gabrovo, Bulgaria . It is organized by the Museum of Humour and Satire in Gabrovo. The 24th edition invited artists to submit works that considered the theme of Dimensions of Publicness. The exhibition will present contemporary art and cartoons addressing the following topics: • public space • public art • public debate• public broadcasting • public interest • public threat/security The artists selected to participate in the Biennial exhibition use humour in order to deconstruct and redefine ideas and concepts of publicness/the public sphere. From 737 artworks received the international jury , Vasif Kortun, Berta Sichel and Anton Staykov selected 69 artworks by 62 artists to participate in the Contemporary Art section the Biennial exhibition. Fisher exhibited, ‘Rioters (Gang)’, 2019 which is part of an ongoing sculptural series that allude to hood, mask and helmet. Forms are simplified and flattened into motifs that act as stand-in figures, the objects are both comic and ominous in their exploration of otherness, conflict and resistance.
    • Directors and designers

      White, Christine; University of Derby (University of Chicago Press, 2009)
      Directors and Designers explores the practice of scenography—the creation of perspective in the design and painting of stage scenery—and offers new insight into the working relationships of the people responsible for these theatrical transformations. With contributions from leading practitioners and theorists, editor Christine White describes the way in which the roles of director and designer have developed over time. Featuring chapters on theater and site-specific performance, theatrical communication and aesthetics, and the cognitive reception of design by the audience, this volume provides a valuable resource on current approaches to scenography for professionals and students.
    • Discipline-based political theatre solo performance "Acting Alone" - Artist-led research exploring boundaries of performer/audience relationships

      Hunt, Ava; University of Derby (International Federation for Theatre Research, 2016-06)
      Over the last seven years I have been drawn to making solo performance theatre inspired by true stories/verbatim material that both challenge me as an artist and as a researcher but also pose questions to audiences but can theatre contribute to social and political change? Acting Alone explores how solo/interactive performance might create “affect” as a tool for promoting social responsibility and political engagement. This paper will set out some of the responses to the performances from touring the piece both nationally and internationally, theoretical frameworks I have engaged with and what questions continue to drive my research. This piece is inspired by my research with artists and educators in refugee camps in the West Bank. The title “Acting Alone” provides a duality - that of acting vs activism – political intervention against the vulnerability of performing alone on stage - would I be alone at the end of a performance or would an audience join me in the conversation, a response to the Israeli/Palestinian conflict? Originally commissioned by Amnesty International (Derbyshire) Acting Alone is informed by performance efficacy and participatory engagement theory. In its exploration of the complex situation faced by those living in Palestine, Acting Alone challenges the theatrical conventions often experienced by audiences. It invites them to interact: to cross the dramaturgical divide and create an ending where no-one, including the performer, knows the resolution. In a unique performance style, tales are woven together, personal stories and folklore tales offer insight and reflection but ultimately the piece poses questions -at times of conflict, do we take action? Whose side are we on? What are we willing to risk? And can one person make a difference?
    • Discursive categories and desire: feminists negotiating relationships

      White, Christine; Loughborough University (Routledge, 1997)
      This original and intriguing collection explores the pressures exerted upon language in the expression of romantic and sexual desire. Simultaneously, it reveals the ways in which language itself exerts its own constraints on the subject's capacity to express desire. The contributors, while using the approaches and methods of empirical linguistics, engage directly with issues of relevance in gender studies and cultural studies. They examine and probe: * language used to mediate romantic and sexual desire * language used by the media to represent intimacy and desire * attitudes and assumptions about romantic and sexual desire embodied in English * implications for the construction of romantic and sexual identity
    • Discussing the applicability of soundfield techniques for larger audience entertainment

      Dickins, Glenn; Lennox, Peter; Dolby Laboratories; The Australian National University; University of Derby (Audio Engineering Society, 14/07/2016)
      Sound field reconstruction techniques for recreating immersive audio in entertainment applications are well established. However, these techniques and their underlying principles do no readily upscale to cover larger listening areas with a sizable number of either static or ambulant listeners. In this work, we review the theory and considerations of sound field control and contrast that to the requirements for creating a consistent experience across a large audience. An argument is made that precise sound field control is neither necessary or sufficient, and we propose key challenges and hybrid approaches for further research and development beyond sound field control.
    • Distilled

      Jones, Rhiannon; Kelly, Traci; Wrexham Glyndwr University (2021-03)
      This solo exhibition by Kelly + Jones explores the researchers use of the language of the pharmacy in relation to writing and chalk e.g. display methods including evaporating dishes. THIS EXHIBITION HAS BEEN MOVED TO 2021 DUE TO COVID19
    • DNA / The hour we knew nothing of each other

      Lane, Kit; Baldwin, Naomi; University of Derby (2016-02)
      A variety of source material was used including original photographic and video images, computer generated imagery and Creative Commons licensed images. A single projector was used but a multiplicity of projection surfaces were targeted through use of projection mapping techniques. The video design was also used as part of research by a final year Theatre Arts
    • Documents, Alternatives #1

      Bartram, Angela; University of Derby (Airspace Gallery, Stoke on Trent, 2017-11)
      ‘Documents, Alternatives #1’ is an exhibition presenting works by 15 internationally exhibited artists and artist collaborations. Built upon a series of time-based works that rely on performative process and created experience, the project 'Documents, Alternatives,' which comprises linked exhibitions (of which this is number 1), symposium and text, aims to resolve this issue by making the document and artwork reflexive. In doing this it acknowledges their need for change, so that they remain continuous and in process, through staging a practical and thought provoking visual discussion. Positioned to operate at the intersection of artistic and academic domains, the project is as creatively stimulating and progressively invigorating as theoretically interrogatory and analytical. This is an experimental, discursive curatorial strategy whereby the document becomes a new artwork and the artwork becomes a new document to keep the ephemeral evolving and in transition. ‘Documents, Alternatives #1’ and the project to which it belongs, are in response to, and as a continuation from the pilot exhibition that curated a selection of international artists’ work to demonstrate the ways in which ephemeral practice can be renewed through re-staging the document as new artwork. It is a re-drafting, re-configuration, re-grouping and re-working of this pilot, ‘The Alternative Document’ at Project Space Plus in Lincoln (13th February - 11th March 2016), and as such it continues the conversation and the lifespan of these works and their relation to others with the exhibition. The project and 'Documents Alternatives #1' are led and curated by Angela Bartram. Includes work by: Angela Bartram, Andrew Bracey, Brazier and Free, Luce Choules, Emma Cocker and Clare Thornton, Kate Corder, Steve Dutton, Tim Etchells, Rochelle Haley, Morrad + McArthur, Andrew Pepper, Louise K. Wilson. The exhibition was accompanied by an artist's talk at Staffordshire University in association with Airspace Gallery as part of Airspace Curriculum on 23 November 2017, and Bartram was commissioned for the window exhibition space, where a new video artwork 'Santa Dogs' showed throughout the duration of 'Documents, Alternatives #1.'
    • Documents, Alternatives #2

      Bartram, Angela; University of Derby (Verge Gallery, Sydney, 2018-01)
      The documentation of ephemeral artwork, works made to be transient, changeable and un-fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporarality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. Experience is difficult to replicate through a lens. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority. ‘Documents, Alternatives’ is a collection of interlinked exhibitions that include time-based works reliant on performative process and created experience for understanding, which aim to resolve this issue by making the document and artwork reflexive. In doing this they acknowledge their need for change so to remain continuous and in process through staging a practical and thought provoking dialogue across venues. Positioned to operate at the intersection of artistic and academic domains, the project is as creatively stimulating and progressively invigorating as theoretically interrogatory and analytical. This is an experimental, discursive curatorial strategy whereby the document becomes a new artwork and the artwork becomes a new document to keep the ephemeral evolving and in transition. This is exhibition number 2 in the series. To be true to the nature of ephemera, the discursive environment that is ‘Documents Alternatives’ is curated to map a staging that is in ‘motion’ and responsive to artistic meaning and intention. Here, the artworks learn from their prior incarnations, and respond to a re-grouping with the others in the collection of ‘conversational’ exhibitions, of which they are now becoming familiar, and their own concepts to be kept very much in the present. Moving beyond traditional unsympathetic means used as sole mode of translation, it offers a more effective way of communicating the artwork by keeping it current and active, and by denying its relegation to the historic past. To do this it positions the artwork as document and new work simultaneously thereby creating a generating loop of reflexive and developing activity. The exhibitions foreground fluidity and diversity of translation and includes multiple art voices and modes of output including video, light and holography, text, painting, print, web work, ethnographic environmental trace, jam making, and sound. The 'Documents Alternatives' project is led and curated by Angela Bartram. Artists include: Tim Etchells, Andrew Pepper, Emma Cocker and Clare Thornton, Rochelle Haley, Kate Corder, Steve Dutton, Luce Choules, Morrad + McArthur, Brazier and Free, Andrew Bracey, Louise K. Wilson, and Angela Bartram. ‘Documents, Alternatives #2 was in the 5% of successful exhibition proposals for Verge Gallery's 2018 programme.
    • Documents, Alternatives #3

      Bartram, Angela; University of Derby (Bath School of Art and Design, Bath, 2018-04)
      The documentation of ephemeral artwork, works made to be transient, changeable and un- fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporarality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. Experience is difficult to replicate through a lens. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority. ‘Documents, Alternatives’ is a collection of interlinked exhibitions that include time-based works reliant on performative process and created experience for understanding, which aim to resolve this issue by making the document and artwork reflexive. In doing this they acknowledge their need for change so to remain continuous and in process through staging a practical and thought provoking dialogue across venues. Positioned to operate at the intersection of artistic and academic domains, the project is as creatively stimulating and progressively invigorating as theoretically interrogatory and analytical. This is an experimental, discursive curatorial strategy whereby the document becomes a new artwork and the artwork becomes a new document to keep the ephemeral evolving and in transition. This is exhibition number 3 in the series. To be true to the nature of ephemera, the discursive environment that is ‘Documents Alternatives’ is curated to map a staging that is in ‘motion’ and responsive to artistic meaning and intention. Here, the artworks learn from their prior incarnations, and respond to a re- grouping with the others in the collection of ‘conversational’ exhibitions, of which they are now becoming familiar, and their own concepts to be kept very much in the present. Moving beyond traditional unsympathetic means used as sole mode of translation, it offers a more effective way of communicating the artwork by keeping it current and active, and by denying its relegation to the historic past. To do this it positions the artwork as document and new work simultaneously thereby creating a generating loop of reflexive and developing activity. The exhibitions foreground fluidity and diversity of translation and includes multiple art voices and modes of output, and the work is significantly adapted for this version from those previously staged at Airspace Gallery (Stoke on Trent, 2017) and Verge Gallery (Sydney, 2018). Artists include: Tim Etchells, Andrew Pepper, Emma Cocker and Clare Thornton, Rochelle Haley, Kate Corder, Steve Dutton, Luce Choules, Morrad + McArthur, Brazier and Free, Andrew Bracey, Louise K. Wilson, and Angela Bartram.
    • Documents, Alternatives #4

      Bartram, Angela; University of Derby (2020-09)
      The on-line curated exhibition ‘Documents, Alternatives #4’, by Angela Bartram, aims to isolate, address, find and utilize appropriate means to translate a diverse range of practice digitally whilst remaining true to its artistic intent. It offers a series of responses through the format of an on-line exhibition of ephemeral artworks, that is designed to self-curate with each user visit. The artworks have undergone physical and conceptual change as they have travelled through each of three gallery situated exhibitions as part of the series already, with this being the fourth. Each iteration is an integral part of a conversation, with the artworks adapting and transforming with each exhibition to form a continuing dialogue. With the three previous gallery-based ‘Document, Alternatives’ exhibitions, this online version sets the agenda for how the ephemeral artwork is re-staged via non-tangible means to produce a document that is both virtually static and physically unfixed. This work is part of the Alternative Document, a large-scale multi-mode project that occupies the complex, yet topical terrain of documentation, acting in response to the antithetical practices of lens-based methods historically used to archive and record ephemeral works. An evaluation and re-shaping of artworks (the performance, installation, projection and participatory practice first exhibited as part of the Alternative Document, Project Space Plus, 2016) will establish how best to communicate and translate ephemera via web-based digital resources. Contributing to the extremely topical conversation in the field of appropriate and different modes of archive, this will lead to a resource that will be available to, and inform new audiences on the complexities and potential of the subject. The project aims to accommodate diversity of approach and access, and to include multiple voices and modes of output, and to this end will research and develop creative ways to establish a user-friendly on-line resource.  The archive for the whole project can also be found on this site, including: #1: Airspace Gallery, Stoke on Trent, 17 November - 16 December 2017 #2: Verge Gallery, Sydney, 18 January – 24 February 2018 #3: BSAD Gallery, Bath Spa, 20 April – 1 May 2018
    • Documents, alternatives - a symposium of artistic process and practice.

      Bartram, Angela; University of Derby (20/04/2018)
      The documentation of ephemeral artwork, works made to be transient, changeable and un-fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority. ‘Documents, Alternatives (#3)’ is an exhibition that includes time-based works that rely on performative process and created experience, which aims to resolve this issue by making the document and artwork reflexive. In doing this it acknowledges their need for change so that they remain continuous and in process through staging a practical and thought provoking visual discussion. The symposium accompanies this exhibition at BSAD, and acts in response to process with artistic practice and the experience of the artwork. It situates a series of opportunities for the experience of process through a structure of colloquialism adjacent to the exhibition, to open the nature of artistic process to critical debate. To enable a dialogue about process (as that exhibited and that discussed) informed by both academic and creative domains, symposium speakers are the artists with work in the accompanying exhibition. Hosted by the Art Research Centre, Bath School of Art and Design BSAD Gallery and BSAD main Lecture theatre. The symposium is staged simultaneously with the exhibition Documents, Alternatives (#3) at BSAD gallery, which is open to the public 20th April – 1st May 2018. The exhibition and symposium are part of the Alternative Document, a project by Dr. Angela Bartram, Associate Professor and Head of Arts Research, at University of Derby.
    • “Does that mean I have to hump Monica?”: the sexual dynamics of a human / nonhuman dog pack.

      Bartram, Angela; Hurley, Paul; University of Derby; University of Southampton (Human-Animal Studies Conference, 2018-08)
      Jacques Derrida said that animal is a name humans “have given themselves the right and the authority to give to another creature. ” This agency of naming separates human from animal, humanity from animality, despite shared behavioural traits. Sex, and sexuality and being ‘in sex’ remind us of animal (in the human and the non-human) primal drives. The genitals reference ‘sex’ (as site, as pleasure, anatomically), and locate where dogs are ‘in heat.’ Dog or human, the heat of sexual enhancement is a force that ignites a biological drive at the expense of cognate sensibilities. It makes us animal, in spite of our species. What does is it to be ‘in heat,’ in the heat of the moment and subject to the impulses of another (species)? Be Your Dog, an interspecies collaborative project at KARST (2016), sees human and dog companions learn the others behaviours and establish empathy. Here, the dogs led the humans (astray) in performative interactions, including those of inter-gender experiences of neutered/intact and sexually receptive/non sexually interested, and a sexually ripe and ‘on heat’ female. This paper, a scripted conversation between Paul Hurley (Be Your Dog, participant) and Angela Bartram (organiser), analyses the investment of sexual tensions brought by the ‘in heat’ canine participant in the group, and her effect on the other dogs and humans.