• Fragile cartographies of border fictioning: a place of their own

      McCloskey, Paula; Vardy, Sam; University of Derby (2018-09)
      Our work operates between contemporary art and spatial practice and we explore the new forms of research and critical production that this space and overlap allows. The Eile Project is a visual art / research project that uses the subjective, spatial, political and imaginative concept of borders/bordering to respond to some immediate political/environmental challenges. The project is sited on the geo-political border between Ireland and the UK; we are a border family as Paula is from Ballyshannon, (Eire). She grew up between Ballyshannon and Enniskillen (NI), as well as living in England, and has traversed the Irish border her whole life. We now return to these places from Sheffield, UK with our own children, each year; the border thus remains at play across generations, time, and space. The context of the Irish/UK border condition is now given renewed prominence within the maligned ‘Brexit’ negotiations which threatens the peace process on the island of Ireland. We propose to show a screening of our audiovisual film, The Territories of Eile, which offers a speculative fictioning in which Eile makes and unmakes the borderlands; passing through them as they pass through her. Eile’s embodied performance gestures utilise organic and inorganic materials on the Irish/UK border territory to distort and create alternate ways of being. The Eile Project offers an interrogation that uses human-bodies and non-human bodies to create a world beyond the present, collapsing durational moments to create a fiction that might impact transformatively on the real. After the screening (4 mins) we would present a short paper discussing the ideas behind the film and their relation to the urban question. We are concerned with understanding how autonomous territories are made, undone, and remade anew - territories as spatial, sonic and social processes in which power, rather than being fixed and imposed as in sovereign borders (power as potestas), can emerge from the site, from the new border imaginaries, in a process of becoming - power as potentia.
    • The Frequency of Trees

      Locke, Caroline; University of Derby (Yorkshire Sculpture Park, 2020-09-21)
      This is a book published by the Yorkshire Sculpture Park (YSP) which has an introduction written by John Newling, a pioneer of public art with a social purpose. The Frequency of Trees is an interactive sculpture which translates abstract sound and frequencies into engaging encounters with participants. The artwork is part of the YSP Open Air Collection and aims to shift how people think about their relationships to their own physicality and movements in nature specific to the YSP Parkland. The book discusses these relationships, as it follows the seasons at the park and four of the trees which the artist tracked and gathered data from in order to make The Frequency of Trees.
    • The Frequency Of Trees

      Locke, Caroline; University of Derby (Yorkshire Sculpture Park, 2014-10)
      The Frequency Of Trees is part of the Yorkshire Sculpture Park (YSP) Open Air collection and has an extremely large footfall (700,000 visitors during 2015/16). Public audiences engage with the research directly when walking through the grounds of the park. Spectators discuss how sound moves and how the body responds. The sculpture comprises of a series of 12 tuning forks tuned to the frequency of different trees within YSP: Oak, Horse Chestnut, Beech and the Cedar of Lebanon in the Formal Garden. The frequency of sound is measured by counting the number of occurrences of an event per unit of time. By measuring the number of times a branch or leaf on a tree moved a certain distance within a set time frame, Locke was able to equate tree movements with Hertz readings, the unit used to measure sound. After striking the tuning forks, spectators are required to listen for the resonating frequencies that continue long after the initial strike – these are the pure musical tones that exist after the initial high overtones recede. The commonly stated human hearing range is 20–16000Hz thus the 16Hz fork appears to have no sound, however , spectators can still enjoy the sight of sound by watching the fork resonate. The work is used as generator for learning on various educational programmes at Yorkshire Sculpture Park .
    • Friends and feelings: the appropriation of Facebook by Irish radio stations to enhance audience engagement through affective media experiences

      McMahon, Daithi; University of Derby (Lund University and University of Westminster, 2016)
      Radio audiences have become increasingly interested in engaging with radio stations via social network sites (SNS), finding radio station Facebook pages as a source of information, entertainment and as a channel for audience participation. Meanwhile in an attempt to remain viable in an increasingly digital mediascape radio station management have appropriated Facebook and other SNSs to create a broader media experience for their audiences. This has involved moving radio stations beyond simple audio broadcasters to become digital media producers, adding visual and highly interactive dimensions to their arsenal. The adoption of Facebook by the Irish radio industry has been driven by commercial forces with station management engaging with audiences via Facebook to help grow online and on-air audience numbers with the goal of increasing revenue. Using the Irish radio industry as a case study this research found that some radio stations are more adept at engaging with their audiences than others. Those stations that employ the medium effectively are connecting with audiences on an emotional level, evoking feelings and instigating affective communication between users. The focus of this research resides at the nexus of radio industry trends, audience engagement experiences and radio production practices, all of which have changed as a result of the adoption of Facebook and other SNSs by the Irish radio industry. This research involved in-depth analysis of three radio stations including commercial and public service stations broadcasting to local, regional and national audiences. The methodology included analysis of Facebook page content, interviews with industry professionals and an audience survey of N=419 radio listeners/Facebook users. This research forms part of the author’s doctoral thesis which explores the social, economic and cultural implications of Facebook use by Irish radio stations and their audiences.
    • From pillar to post

      Bosward, Marc; Shore, Tim; Poynton, Stuart; University of Derby (2014-03)
      Site-specific projection pieces exploring the architecture and history of the Derwent Valley Mills. ‘From Pillar to Post’ was a digital animated film displayed at Strutt’s Mill Belper using projection-mapping technology as part of the launch for the refurbished and remodeled exhibition spaces.
    • From Pillar to Post (and back again): animation projection mapped onto the basement pillars of Strutt’s North Mill, Belper for a Museums at Night Event.

      Shore, Tim; Bosward, Marc; Mellor, Shane; Poynton, Stuart; University of Derby (2014-05)
      From Pillar to Post (and back again) was projected onto eight of the monumental mill-stone grit piers in the basement of Strutt’s North Mill - the pillars are all that is left of Jedediah Strutt’s first mill of 1786 that burnt down in 1803 – they form the foundation of the ‘new’ mill built in 1804. The abstract animation was composed of short sequences of choreographed blocks of light and colour that was mapped on to the blocky rectangular geometry of the pillars. The animation playback was synched to an audio track using Isadora software. Visitors were able to walk between the pillars affecting the animation by breaking the projection light beam and changing the animation sequences by adding their own audio in the form of shouting, clapping and stamping. Pillar to Post (and back again) created an immersive animation that the audience were able to walk into and affect by interrupting the audio track by making random sounds that changed the order and play of the animation. The audience were able to perform the animation.
    • From surround to true 3-D

      Lennox, Peter; Myatt, Tony; Vaughan, John; University of York (Audio Engineering Society, 1999-04)
      To progress from surround sound to true 3-D requires an updating of the psychoacoustical theories which underlie current technologies. This paper shows how J.J.Gibson’s ecological approach to perception can be applied to audio perception and used to derive 3-D audio technologies based on intelligent pattern recognition and active hypothesis testing. These technologies are suggested as methods which can be used to generate audio environments that are believable and can be explored.
    • From the surface of the image to the surface of the psyche: A practice-based research into the ontology of painting onto photographs

      Robinson, Carl; University of Derby (National Association for Fine Art Education, 2016-07-15)
      In his book The Poetics of Space, Gaston Bachelard wrote, “The poetic image is a sudden salience on the surface of the psyche”; a phrase that perfectly captures the sensation I experienced when first viewing Richard Hamilton’s artwork Portrait of a woman as an artist (2007). Encountering this image created a sudden salience on my psyche due to, what was for me, the unexpected combination of media employed where the artist had painted the central figure of an otherwise completely digital photographic print. As I reflected on why one would paint onto a photograph, a potential research question began to form, which has become the locus of my practice-based PhD of painting on photographs: ‘To what degree can an art practice of painting onto digital photographic prints illuminate the ontological relationship between representational painting and photography in the digital age’? Curator and theoretician Peter Weibel notes that the first phase of the ‘post-media condition’ has given ‘the media’ equivalence, with the art of technical media, created with the aid of a technical device, having achieved the same artistic recognition as the traditional media of painting and sculpture. However, by painting onto digital photographic prints, Hamilton attempted to emphasize the medium specificity of painting in order to assert that discipline’s superior status to these other practices, with the digital and photographic being deployed by him as a means of underpinning the pre-eminence of painting in the western European tradition. Whilst Hamilton’s agenda in these few works was to foreground painting in its relation to photography and the digital, combining elements in this way chimes with contemporary artworks that embrace a fluidity of media. In particular his working in this way highlights the potential for further interrogation of dialogues between the analogue and the digital. Though contemporary artists such as Gerhard Richter, Matt Saunders, Matthew Brandt and Sharon Core engage in practices that examine the boundaries of painting and photography, painting mimetically onto digital photographic prints still remains a largely unexplored avenue of investigation. My research aims to position itself in this space, with the practice being now in the initial stages of producing photographic imagery onto which experiments with paint can be made in order to probe aspects of the ontological relationship of these two media. It is anticipated that from this juxtaposition the objective properties of painting and photography combined within single artworks, the performative nature of this practice and, ultimately, viewer engagement with such artwork can be more fully understood. Methods for explicating understandings of these relationships will involve self-reflective evaluation of the work in progress in the first instance. The work I present will investigate to what degree the act of viewing is disrupted due to a potentially anomalous combination of mediums, and whether this leads to a more reflective experience for the viewer?
    • Gandharva: the magic sound of the Nepali Sarangi

      Nicoletti, Martino; University of Derby, School of Art and Design (Firenze - Bologna: A-Buzz Supreme - Stenopeica, 2013)
      The CD presents a series of sarangi solo executions inspired by a rich repertoire of traditional Nepali and Tibetan melodies, performed by Shyam Nepali: in this work the long-established music of the Gaine of Nepal blends with the very personal experimentation and intimate feelings of one of the most renowned innovative and sensitive musicians in the panorama of contemporary Nepali music. Track 01: Morning bliss Track 02: Himalayan dawn Track 03: Across the clouds Track 04: Waiting Track 05: Footprints in the snow Track 06: Soul’s vibe Track 07: The shaman’s flight Track 08: Melting water Track 09: Beauty revealed Track 10: Don’t turn your gaze behind Track 11: Back from the fields Scientific researches, recording organisation and supervision: Martino Nicoletti; Sound engineering and post-production: Roberto Passuti; Label: Stenopeica – A Buzz Supreme.
    • The GASP project: Guitars with ambisonic spatial production.

      Werner, Duncan; University of Derby (2016)
      The GASP 'Guitars with Ambisonic Spatial Performance’ project seeks to demonstrate alternative ways in which various guitar performance styles can benefit from re-timbralisation and ambisonic spatial production techniques. GASP is an ongoing project where research into guitar performance utilising multiple individually processed string timbres, generated by our multichannel guitars, in conjunction with virtual guitar processing software, and processed ambisonically, provides scope for alternative performance and production techniques; more information on the GASP system at: http://tinyurl.com/GASP-Derby
    • GASP v2: Guitars with Ambisonic Spatial Performance

      Werner, Duncan; Wiggins, Bruce; Box, Charlie; Dallali, Dominic; Hooley, Jack; Middlicott, Charlie; University of Derby: Creative Technologies Research Group; University of Derby: Department of Media and Perfoming Arts (2016-06)
      The 2016 GASP v2 'Guitars with Ambisonic Spatial Performance' project seeks to demonstrate alternative ways in which various guitar performance styles can benefit from re-timbralisation and ambisonic spatial production techniques. This poster was funded through the ‘Undergraduate Research Scholarship Scheme’ (URSS) and presented at the University of Derby Buxton Campus 12th Annual Learning & Teaching conference on Monday 4th July 2016. The poster was also utilised as a contribution to the Creative Technologies Research Group (CTRG) ‘Sounds in Space’ symposium held at the University of Derby on 28th June 2016, at which three pieces of multichannel guitar recordings were demonstrated.
    • Gay gardens: Visual anachronisms and the subversive politics of lesbian representation

      Marmalade, Gemma; University of Derby (Cambridge Scholars, 2020-12-17)
      This paper is a direct transcription of the performed presentation which was delivered at the conference for the FORMAT19 International Photography Festival, for which I acted as co-organiser and co-editor. This presentation supported my exhibition of the work within the festival. The paper given discusses philosophical issues arising around contemporary representation of lesbian and queer identities in context to its historical counterpart. This paper, like the work itself, continues to playfully and precariously position the work in-between the fictional and documentary, challenging the sensibilities of its audience. Additionally, through the performance of the paper, other research concerns of the subversive nature of this practice were transposed. The paper was presented by a carefully rehearsed imposter version of my academic self. I became my own anonymous audience heckler, undermining the validity of the claims in the research, resulting in my/their dramatic removal from the premises. This work sought to test the expectations of conference conventions, the shutting down of institutional challenge and debate, the erasure of the female voice, the imposter sensibilities of academics, and the inversion of authoritative roles. The work was live streamed along with other conference proceedings and documented through photographs as illustrated within the chapter.
    • Gendered narratives in Adamantios Diamantis’ The World of Cyprus

      Photiou, Maria; University of Derby (University of Nicosia, 2021-12-16)
      In this paper, I examine Adamantios Diamantis’ painting The World of Cyprus as a representation of a male-dominated society where women are marginalised. Through the analysis of the artwork, I will consider how the work presents a traditional ‘world of Cyprus’ that was beginning to disappear during the post-1960s. I will refer to Diamantis’ work as an example to explore gender relations and socio-political conditions in patriarchal Cyprus. I will argue that socio-political conditions in Cyprus left little space for women to contest patriarchy, to fight for gender equality, or to gain public visibility.
    • Geometries of hope and fear: the iconography of atomic science and nuclear anxiety in the modern sculpture of World War and Cold War Britain

      Burstow, Robert; University of Derby (Routledge, 2014)
      This chapter will investigate the ways in which nuclear science and technology figured in a variety of sculptural forms in early Cold-War Britain. First, it will show how from the 1930s the constructivist sculptors Hepworth and Gabo embraced atomic science, encouraged by contact with the crystallographer J.D. Bernal. Through works alluding to the geometry of crystal structures, they signified optimistic hopes for increased human understanding in a Socialist society. Second, the chapter will examine how the creation and use of atomic weapons led surrealist, social-realist and Pop sculptors to make critical works about nuclear science and technology. From the ambivalent to the satirical, works by Moore, Paolozzi, Peri and Self exemplify a range of sculptural representations of nuclear arms and the disarmament campaign (in which several sculptors and critics were active). Third, the chapter will consider the extent to which the expressionist sculpture of Butler, Chadwick, Clarke, Meadows and others has also been understood to reflect fears of nuclear warfare, despite an absence of explicit ‘nuclear’ signification. As this now familiar interpretation of their imagery has invariably been supported by Read’s famous characterization of it as ‘the geometry of fear’, the chapter will particularly interrogate the intended meaning of his epithet and how and when it became associated with the nuclear threat. Throughout the chapter, sculptors’ and contemporary critics’ explanations of these disparate formal and iconographical engagements with nuclear science and technology will be scrutinized, alongside analysis of how they related to the aesthetic and ideological oppositions of the Cold War.
    • Geopower (Spatial Self Organisation Against Injustice in Sheffield)

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2019-12-19)
      “[G]eopower has no outside, no ‘place’ or ‘time’ before or beyond it: it is the force, the forces, of the earth itself: forces which we as technical humans have tried to organise, render consistent and predictable, but which we can never fully accomplish insofar as the earth remains the literal ground and condition for every human, and non-human, action.” (Elizabeth Grosz, 2017) On the fringes of Sheffield there is an active and ongoing energy for diverse forms of spatial self-organisation as resistance to forms of injustice, specifically around resistance to shale gas fracking, and the struggles of former coal-mining communities, where 35 years after the so-called ‘Battle of Orgreave’, campaigners are still organising for justice. The varied topography of the former colliery at Orgreave is now starting to be reinscribed through new housing and leisure developments yet harnesses complex layers of trauma and politics. Geopower (Spatial Self Organisation Against Injustice) (September 2019), an ‘a place of their own’ (art and spatial research practice of Sam Vardy and Paula McCloskey aplaceoftheirown.org) project, commissioned by Arts Catalyst (artscatalyst. org) as part of their Recentring Attention Programme. The project was a co-inquiry into the complexities of extraction in the ecologically diverse and newly politicised territories of the former Orgreave Colliery, South Yorkshire, as well as anti-fracking protest camps around Sheffield’s old mining communities. McCloskey and Vardy engaged with activists from the Orgreave Truth and Justice Campaign to explore their organisation and annual event, as well aa Women Against Pit Closures, and anti-fracking activists who have established camps to protest new fracking test sites. A multi-format event was devised across the former Orgreave colliery site, and in the Treeton Reading Rooms. The event included McCloskey and Vardy’s performative walk, which saw them perform extracts from theoretical texts and speeches exploring the politics of extraction from decolonial and anti-colonial theorists and activists (e.g. Gloria Anzaldúa, Elizabeth Povinelli, Artemisa Xakriabá, Sylvia Wynter, Elizabeth Grosz, Anna Tsing, Kathryn Yusoff, Zapatistas) around the post-extraction landscape with a live art performance by invited local artist Damien Fisher (who is part of the LGBTQI community in support of the miners’ campaign). Following the walk, a collective conversation with local fracking and coal-mining activists drew together different groups and networks, and created a unique space for different struggles, experiences, and stories to be shared, between academic and non-academic groups. The event, which was attended by about 60 people, also situated the conversation, beyond the city centre towards the boundary between Sheffield and Rotherham, at the site itself of the stories that were told. McCloskey and Vardy were subsequently invited in 2020 by the Orgreave Truth and Justice Campaign to engage in and present at an online event Music, Art and Activism event September, 2020, the video for which has had over 3200 views (view live recording: https://www. facebook.com/120820591409802/ videos/635011967205130
    • Gestures of Resistance

      Fisher, Craig; Wainwright, Jean; University of Derby (University for the Creative Arts, Canterbury Romantso Cultural Centre, Athens, Greece, 2017-04)
      Gestures of Resistance aims to respond to our current general mood of political anxiety and alienation by opening up socio-political critique in order to resist the palpable feeling of disempowerment. Rather than accepting the non-choice of the neoliberal setup of Greece or current right-wing politics both in America and Europe, the artists of Gestures of Resistance reflect on the current state of our political condition, our current housing situation, the state of education and art, liberalism, diversity and pluralism in this moment of historical crisis, whereby the state of today seems to have strong links to the state of the past. As part of Gestures of Resistance, artworks by sixteen international contemporary artists will be exhibited at the Romantso Cultural Centre in Athens during Documenta 14. From photographs and collages to sculptures and installations, each artist has an agenda and political take – some subtle and cryptic, some openly confrontational. Fisher will be exhibiting new and existing sculptural works from his, ‘Homemade Device’ series. Participating artists include: Bill Balaskas, Pavel Büchler, Broomberg and Chanarin, Edward Chell, Ian Dawson, Craig Fisher, Alfredo Jaar, Peter Kennard and Cat Phillipps, Steffi Klenz, Małgorzata Markiewicz, Louisa Minkin and Francis Summers, Terry Perk, Julian Rowe, Yorgos Sapountzis, Bob and Roberta Smith, Socratis Socratous, Wolfgang Tillmans, Jessica Voorsanger, Stuart Whipps
    • Gettin' the Heart Ready

      Fisher, Craig; University for the Creative Arts, Canterbury; Nottingham Trent University (The Royal Standard, 2016)
      This group exhibition celebrated The Royal Standard’s coming of age as the gallery entered its tenth year of artist-led programming within the city (Liverpool). The 23 artist-strong retrospective showcased artists that have been collaboratively nominated by directors past and present, in recognition of their previous work for The Royal Standard and their careers as practitioners. Gettin’ the Heart Ready will give an opportunity to look back on The Royal Standard’s formative younger years, to show appreciation to those that have contributed to a successful decade, and to look forward and consider the prospects, the potential and the future of The Royal Standard. Fisher was invited to participate in the exhibition, showing works from his ongoing ‘Rioter’ and ‘Homemade Devices’ series within a site-specific (wall painting) installation. ‘Rioter (Memphis)’, was conceived and made specifically for the exhibition as a continuation of Fisher’s interest in pattern, camouflage, and the subversive potential of the decorative. Alongside this work, Fisher also exhibited a number of ‘Homemade Devices’ sculptures siting them in juxtaposition with the wall painting. Participating Artists: Jo Addison, Jonathan Baldock, David Blandy, Oliver Braid, Joe Crowdy, Jemma Egan, Craig Fisher, Matt De Kersaint Giraudeau, Michelle Hannah, Joe Hamilton, littlewhitehead, Celia Hempton, Holly Hendry, James Mclardy, Pil and Galia Kollectiv, Jake Laffoley, Liliane Lijn, Jess Flood Paddock, Mike Pratt, LOW PROFILE, Ailie Rutherford, Sam Smith, Dave Sherry.
    • A gift for Eleonora

      White, Christine; Oddey, Alison; University of Derby; Nottingham Trent University (2015-05-12)
      The performance, ‘A gift for Eleonora’ is a research output, which investigates the cultural value of the arts for health, happiness and well-being as a cultural health intervention for public engagement in an UNESCO World Heritage Site. This was performed in the UNESCO World Heritage Site of the Basilica di Santa Croce, in the Cappella dei Pazzi, Florence, Italy on May 13-15, 2015.
    • Girls like that

      Lane, Kit; University of Derby (2015-02)
      A variety of source material was used including original photographic and video images, computer generated imagery and Creative Commons licensed images. Extensive use was made of projection mapping techniques. A wide-screen image was created at a short throw distance by edge-blending two projectors.
    • Google scholar and e-journals.

      Bryson, David; University of Derby (2010-09)