• Engaging in pedagogic and artistic practice in a learning theatre

      Daly, Darren; Barth, Caroline; Shelton, Fiona; University of Derby (2015)
      This is a case study of the Learning Theatre, identifying some of the challenges and successes of its collaborative HE projects.The presentation was part of a conference investigating partnerships between HEIs and Professional Theatres. It gives an overview of some of the learning initiatives that the theatre operates and the concept of the Learning Theatre and then focusses on a case study of the ‘Company Aside’ initiative within this context. The research is focussed on student experience throughout the process and identifies key considerations for the development of the scheme and the partnership.
    • Enthusiasm

      Basi, Philip Ranjit; University Of Derby (Enthusiasm, 2017-08-01)
      Enthusiasm provides dedicated youth work mentors to support a minimum of 60 young people aged 11-18 who are most at risk of exclusion from education, offending and anti-social behaviour – including the influence of negative peer groups and gangs, or those who are behaving in ways that require a multi agency response. Most of the young people are identified by various partner agencies and referred through Vulnerable Children Meetings (VCM), Neighbourhood Tasking Meetings and other partner agencies which may include Police, Housing, Anti-Social Behaviour Teams, Children and Young People Department (CYPD), Schools, Health Services, Volunteer and Community Sector Organisations and other agencies working within different areas. This short documentary follows some of the participants who engaged with the project that gave them access to the creative facilities of the university and how creativity can give you a voice and help to express one self through art.
    • Entrepreneurship for the creative and media arts

      White, Christine; Oddey, Alison; Xia, Fan; Ping, Lu; McNicoll, Sarah; Nottingham Trent University; Shanghai Institute of Visual Art; University of Derby (China Agricultural University Press, 2012)
    • Entries on the L word and true blood.

      Forde, Teresa; University of Derby (Syracuse University Press., 13/11/2018)
      Entires on the finales of television series: The L word and True Blood as part of a collection on finales.
    • Ephemeral art and documenting the un-documentable.

      Bartram, Angela; University of Derby (06/07/2018)
      Concerned with the ephemeral and how it is perceived when lost to the fractures of time, Peggy Phelan suggests “you have to be there.” Phelan states that ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? Archival devices are however, problematic, for how do we suitably record the remains of these artworks that, by their very premise, deny longevity and fixity? This paper interrogates the critical, sensitive and individualized distance necessary when capturing ephemeral artwork to allow it to remain true to intent. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain will be analysed to question if appropriate documents, with the varied and differing demands of works of art, can ever be possible. Based on artworks within ‘The Alternative Document’ exhibition (Project Space Plus, Lincoln UK, 2016, which I curated to include a collection of archival documents reconfigured as new artworks) I discuss the potential for legacy beyond formal and traditional means. Through this, I will suggest how it is possible to move beyond formal academic, artistic and museological conventions when documenting and re-staging ephemeral art.
    • Ethical dimensions to reflection.

      Bryson, David; University of Derby (2011-03)
    • Expanded Studio Project

      Jones, Rhiannon; Primary Studios Nottingham; Pssquared Belfast (2019-01)
      The Expanded Studio Project was a 5 month collaborative initiative between Belfast based artists and artists based at Primary Studios, Nottingham. The aim of the project was to develop external relationships, exchange ideas and explore different modes of collaboration. During this collaboration it provided time for regular exchanges in dialogue between 21 artist researchers - as a research- generation activity they conducted regular sending of images, texts, meetings and sharing of ideas and raising questions between Nottingham and Belfast contributors. A programme of site visits, city tours (Nottingham and Belfast), exhibition and Symposia was designed by the contributors and this was funded by Arts Council England and Belfast City Council. This S.H.E.D collaboration with Declan Proctor focused on SHEDDINGLIGHT, exploring how S.H.E.D can transform into a light installation. The collaboration had two phases, in Belfast the micro-light models were exhibited for a month at PsSquared Gallery in Belfast, to test out the premise for the project. Later on in the process and to time with the symposia, at Primary in Nottingham, the 10x8 S.H.E.D structure was built and installed. A micro and macro construction and play with light and materiality of sheds was created in order to reflect the micro / macro research process between Jones and Proctor from being based near and far at different times of the process. This exploratory series of activities increased their depth in exchange and to share ideas and create new works. Specifically, through this line of research it led to studying how to combine architectural and creative build elements of the design process and combine it with performative strategies for the creation of spaces. As a result it was identified that S.H.E.D is • a place for conversation • a co-creator, working with, and for community • a multidisciplinary space • a social, collaborative and generative space for the sharing of knowledge • a space for shedding preconceptions. For Jones, the Expanded Studio Project specifically provided her with research and development time for the S.H.E.D – by design of the Expanded Studio Project and through these distinct research processes applied to proposal of S.H.E.D Jones was able to test out the conceptual framework for the project within an artistic, public and research network. Working with Belfast based Light Installation Artist, Declan Proctor they spent time researching into the materiality of sheds and its relationship to light. For Jones, it raised questions about scale and form, positionality of S.H.E.D – the role of being inside and outside of spaces and how the notion of a shed as an object was triggering public discourse and engagement and in turn it was becoming a research-generation site of and for itself. It was also driving forward the question of how spaces can be repurposed as sites of curiosity and creativity. Wider research findings on the impact of this project were noted ‘… through the project artists had extended their practice; experiencing collaboration had led to insights about the importance of reciprocity, experimentation, embracing mess and a more conscious appreciation of their process by bringing external dialogue into their practice earlier’. Outcomes – What difference did the project make? For partners (Primary and PS Squared) • Enhanced profile of partners as artist-led organisations with an innovative artist development programme with UK-wide reach. • Improved skills and experience of strategies to support artist-led development to feed and grow future initiatives • Improved knowledge and access to artists, creative opportunities and professional networks in Belfast and Nottingham. For artists: • New ideas and development for personal practice • Improved confidence, skill and experience in approaches to collaborative working • Improved knowledge and access to artists, creative opportunities and professional networks in Belfast & Nottingham (Jo Wheeler, Independent Project Evaluator 2019)
    • Experiences and impact of mistreatment and obstetric violence on women during childbearing: a systematic review protocol.

      Mcgarry, Julie; Hinsliff-Smith, Kathryn; Watts, Kim; McCloskey, Paula; Evans, Catrin; University of Nottingham; King's College London (JBI Database of Systematic Reviews and Implementation Reports., 2017-03)
      The aim of this review is to synthesize the best available evidence on the experiences of mistreatment and/or obstetric violence in women. Specifically, the objective is to explore, from a woman's point of view, the impacts and consequences of mistreatment and/or obstetric violence during childbearing. The review question is: "What are the experiences and impact of mistreatment and obstetric violence on women during the active period of childbearing?"
    • The experiment

      Lahav, Vered; University of Derby (New Art WM, 2015)
      Mixed media kinetic installation. Glass, wood and feathers.The SALON exhibition at The Waterhall Gallery, Birmingham Museum & Art Gallery, Edmund Street offered over 100 works of contemporary art for sale by 80 artists from the West Midlands and beyond between 13 November to 22 December 2015. Works included paintings, prints, photography, sculpture, book and film. SALON was the second selling exhibition organised by New Art WM this year offering audiences a unique chance to see and buy contemporary art by a wide range of artists at a range of prices starting at £20.
    • Exploring New Voices: Future Practice in Applied Theatre

      Jones, Rhiannon; Connelly, Heather; University of Derby (2019-01)
      Exploring New Voices: Future Practice in Applied Theatre Conference aimed to extend and refresh practice amongst a creative community of theatre-makers, academics and world-class practitioners. At the conference questions were asked to address challenges and share ideas that explore how Applied Theatre can bring ‘New Voices’ into our work and revolutionise the way we co-create with diverse communities. To this end, teachers, academics, students, and theatre-makers explored new ways of developing and exploring their practice by exchanging invaluable insights with practitioners working in a variety of fields within Applied Theatre and participating in workshops led by the nation’s leading Applied Theatre specialists, each of whom guided participants on a different area of practice under the umbrella concept of shared agency with communities. As part of the event InDialogue, (2019) Dr Rhiannon Jones (University of Derby) and Dr Heather Connelly (University of Lincoln) - Co Founders of InDialogue presented their artistic research & collaboration which focuses on the use of dialogue to generate practice across all creative disciplines. They also announced the call for participation for InDialogue 2019; the international symposium hosted by one of the InDialogue partners for 2019; Derby Theatre. The 4thiteration of InDialogue will bring together UK and International based artists and researchers to push the boundaries in thinking about the use of DIALOGUE and SITE within PRACTICE, across the disciplines of art and design. Inviting proposals that activate the temporary occupation of a variety of regional cultural venues Derby Theatre, Déda, S.H.E.D , Mansions of the Future, Nottingham Contemporary. The call seeks to harness the potential movement of InDialogue through the region in a variety of contexts to afford further examination of dialogic practices.
    • Exploring real world learning through Company Aside

      Daly, Darren; Barth, Caroline; Shelton, Fiona; University of Derby (2014)
      This is a case study of the ‘Company Aside’ initiative at Derby Theatre focussed on its efficacy as a learning model. The presentation was part of The University of Derby’s Learning, Teaching and Assessment conference on Pedagogies for The Future. It is an evaluative case study of the ‘Company Aside’ initiative as a learning model. The research was drawn from focus group discussions and questionnaires with students and professionals engaged on the programme, identifying key challenges, successes and considerations for further development.
    • Exploring the benefits of surround sound in contemporary live music performances

      Crossley, John; University of Derby (Audio Engineering Society, 2016-06)
      Spatial audio utilizing 5.1 surround sound and newer developments such as object oriented audio has become well established in cinema and home theaters. The expansion of this into live musical performance is quite limited. This work explores the benefits of surround sound for contemporary music performance. A 20-channel Wavefield synthesis system was compared to a high quality stereo sound reinforcement system under identical experimental conditions. An original composition was used to avoid familiarity with program material and to encourage focus on spatial considerations. Data drawn from audiences at both performances is used to quantify the perceptual differences for the average audience and to draw conclusions as to the usefulness of using a system of this type in an “average” contemporary live music performance.
    • Fabrica-tactilis, skilful production, structure - Fabric that may be touched, tangible

      Wells, Kate; Poundall, Robyn; University of Derby; David Nieper Ltd. (26/11/2014)
      Over the last 15 years, many of the tactile and haptic qualities of printed textiles have been abandoned for what is considered a fast and smooth digital solution through the increased popularity in using digital media as a the main source for design inspiration, conception and manufacture. Much of the creativity and qualities produced by hand processes and non digital techniques that in past produced tactile surfaces within a material via the creation of different densities or composite multiple layered structures, have in many cases been replaced with optical digital illusions of texture with the actual tactility of the material being lost or compromised. This paper outlines current collaborative design research that explores the uniting of haptic processes within cross-disciplinary fields of textiles, ceramics and glass. The results are the creation of a variety of materials both soft and hard. 3D-Soft is the result of natural and man-made manipulated fabrics that exhibit three-dimensional textured, puckered, distorted and translucent/transparent effects. That with further cross-disciplinary experimentation, the tactile textural qualities of fabric are transposed into hard surfaces: 3D-Hard, through different stiffening, ceramic and glass processes. The main aim of the research being the creation of unique exciting materials ‘Fabrica-Tactilis’ that develop and unite haptic skills with touch, exploring contradiction and harmony by embracing both traditional and non-traditional textile processes and alternative craft techniques for example ceramics and glass within their manufacture.
    • Family activist network performance photograph.

      McCloskey, Paula; University of Derby (2014-01)
      FAN is a group of 35 or so adults (academics and artists) and children, based across the UK (Cambridge, Chichester, Edinburgh, Lincoln, Liverpool, London, Norwich and Sheffield). FAN was formed to consider family life and climate change through a variety of art activist formats. Since its formation in 2014 FAN have exchanged slow mail correspondence, created a reading group This Changes Everything (Naomi Klein 2015), held recruitment events (Two Degrees festival, Artsadmin, London 2015), protested together (Time to Act, London, 2015; D12 Redlines in Paris for COP21, 2015), engaged in creating family performances showcase (Plas Caerdeon, Wales 2016), commissioned a science lecture about James Watt and the onset of Anthropocene Epoch (Glasgow Green, 2016), engaged in a themed discussion on Future Scenarios (2016), visited the site of the Happisburgh footprints, created Photo Books of FAN encounters (2015 – ongoing) and debated on FAN email list (2015 – ongoing). 'a place of their own' has been a member of FAN since 2014 and participated in all its performances and events, please see website links for more information.
    • Family Entanglements

      McCloskey, Paula; Vardy, Sam; University of Derby (2018-11-02)
      ‘Family Entanglements’: As the collaborative arts practice ‘a place of their own’ we were invited to deliver a performance 'Lab' at the Social Art Summit – an Artists-led 2-day conference Sheffield, 1, 2 November 2018. For this Art Council funded conference, over two-days artists from around the country, as well as international speakers came together to share practice, showcase work and explore what it means to be making art through social engagement right now. As one of 8 ‘labs’ we ran a session called ‘Family Entanglements’, the invitation for participants read as follows: ‘As a reflection of their own family practice they will facilitate collective activities based around string games and Cat's Cradle, whereby delegates will explore critical themes including: Radicality in the family and your practice; home as a site of arts practice; maternity as practice; alternative futures, new intergenerational relations and making different forms of kinship. The lab sought explore the research questions of ‘how living with and raising children might offer ways to think about alternative futures in the face of economic, social and environmental crisis? and how the 'family' might be a site of resistance to dominant ideologies?’
    • FAN Mothers in Our Fragile Social Network against Climate Change

      McCloskey, Paula; Duffy, Clare; Zvensden, Zoe; Chicago, Jennifer; Hawkes, Jodie; Townley, Anna; Lovett, Leah; Šimić, Lena; University of Derby; Sheffield Hallam University (York University, Toronto, 2021-10-05)
      This email chain conversation between seven mother/artist/activists written over a period of one year between January 2018 and January 2019 reflects our various family lives and attitudes to climate change at that time. The authors identify as belonging to the Family Activist Network, and consequently, to the environmental movement in the age of the Anthropocene. The piece addresses: (1) The many contradictions, paradoxes, hypocrisies, and incongruences inherent trying to be mother/artist/activist; (2) Feminist solidarity; (3) Questioning if it is possible to reconcile activism with maternity, under what circumstances, and according to what models of activist/maternal practice; (4) Intergenerational injustice; (5) The question of acting/not acting; (6) The question of paying attention – noticing how you live and how you create the conditions for another human to live; (7) Other life – other humans, non-humans and the earth, and; (8) The spectacle of mothers and children in protest – the whole performance of mothering in the public realm, at rallies, marches, and art-activist events.
    • Feature: Angela Bartram - 366:366 (eventually; animated; finally), 2016-2020

      Bartram, Angela; University of Derby (Invert/Extant, 2020-09-15)
      For the leap year of 2016 I exhaled on an etching plate every day, at roughly 8pm. 366 breaths layered on the same surface, in the same place, and at roughly the same time. Each breath took about four seconds to lay on an A5 zinc etching plate. So, roughly 1464 seconds in total, or just over twenty-four minutes, or a third of an hour…that is a lot of breath. I had worked with the mouth as an instrument for drawing and object making in performances and other ways for years, and this work is part of that practice. The mouth, what some theorists would term a vulnerable orifice, made useful and invulnerable (perhaps) through creative process. But surely this was doomed to failure, for how could breathing produce an image in this way? Really, I didn’t care. For this was an exploration of repetition within process, the mundane within the order of making.
    • Feel it in my bones: Composing multimodal experience through tissue conduction

      Lennox, Peter; McKenzie, Ian; Brown, Michael; University of Derby (Les éditions de PRISM, 28/09/2017)
      We outline here the feasibility of coherently utilising tissue conduction for spatial audio and tactile input. Tissue conduction display-specific compositional concerns are discussed; it is hypothesised that the qualia available through this medium substantively differ from those for conventional artificial means of appealing to auditory spatial perception. The implications include that spatial music experienced in this manner constitutes a new kind of experience, and that the ground rules of composition are yet to be established. We refer to results from listening experiences with one hundred listeners in an unstructured attribute elicitation exercise, where prominent themes such as “strange”, “weird”, “positive”, “spatial” and “vibrations” emerged. We speculate on future directions aimed at taking maximal advantage of the principle of multimodal perception to broaden the informational bandwidth of the display system. Some implications for composition for hearing-impaired are elucidated.
    • Finding lines

      Shore, Tim; University of Derby (Derby Museum and Art Gallery, 15/07/2017)
      A series of 10 drawings and one video (titled Faint/Feint) that explore process, performance and gesture, selected for the group exhibition ‘Finding Lines – A Celebration Of Drawing And Mark Making’ at Derby Museum and Art Gallery. The ten drawings for Finding Lines are not drawings, they are carbon copies made with small sheets of typewriter carbon paper placed underneath the paper that will be drawn on, and on top of a second sheet of paper which receives the impression of the drawing. Each drawing is made of a series of straight lines drawn with the aid of a set square. Faint/Feint privileges the most basic elements of drawing; pencil, line, paper and tool. The carbon copy is an ‘automatic’ record of the corporeal (and cognitive) act of drawing: it captures all the mistakes I make; the slips, smudges, misalignment and movement - and replicates them. The drawing is a poor performance of an activity that could easily be automated. I have approached drawing as a corporeal exercise that relies on concentration and stamina and which is always imperfect because in doing it I can never match the precision of the computer (although the carbon copy nods to the perfect copying of the photocopier and the printer). Faint/Feint 10 x A1 carbon copy drawings, 60gsm newsprint.