• "Kathmandu: lezioni di tenebre": un libro e della musica dedicata ad una metropoli dell’abisso ("Kathmandu: lessons of darkness": a book and a CD devoted to a metropolis of the abysses)

      Nicoletti, Martino; University of Derby, School of Art and Design (Centro Studi Orientali Roma, 2013-05-28)
      An article devoted to the publication of a book (poetry texts, photos and an attached musical CD) by Martino Nicoletti and devoted to the city of Kathmandu (Nepal).
    • Kelly + Jones : The Glass Tank Seers in Residence CaCO3

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (2020-02)
      Kelly + Jones' research explores a decentralised and phenomenological methodology for approaching shared research dynamics. The Kelly + Jones: The Glass Tank Seers in Residence CaCO3 project approaches investigation as a non-hierarchical, non-linear series of happenings that privilege knowledge as a mingling and arrangement of rhythms and textures in anticipation of the appearing of the not-yet-seen. The Seers in Residence research model was first developed by Traci Kelly (2012). Kelly + Jones proposed that this model should form part of their practice as research exhibition at The Glass Tank, Oxford Brookes University, 2020 with an expanded scope to create a research opportunity not only across disciplines as previously but and also across generations of researchers. A key component of creating a research ecology lay in inviting others to pursue their own research through the lens of the exhibition. A micro-residency research model ”Seers-in-Residence” developed by Traci Kelly in 2012 as an open resource for creative practices provided the structure. Each invited researcher spent a continuous three hours engaging with Kelly + Jones’ exhibition material through the prism of their own discipline and research interests. The contingent research-in-action expands, renews and shifts the territory of artworks and practices, providing a ground for each ”Seer” to further mobilise their investigations through the process. The innovative intervention into exhibiting-as-research, created an inter-departmental, cross-disciplinary and inter-university research opportunity for four female researchers. The intergenerational grouping of researchers was also key to the process and included a management/senior researcher, a lecturer/ researcher, a PhD candidate and a third year B.A. Fine Art student. The result was the process built an intergenerational experience to benefit all participants by allowing integrated critical futures to develop within the Oxford Brookes University environment. Feedback from the residencies has been highly positive with students and staff commenting that they don’t normally get to witness their lecturers in active practice-as-research. The residencies also keep a static exhibition enlivened throughout its duration. The methodology: *The three-hour micro residencies were dependent upon a commitment by Oxford Brookes University to a resulting integrated publication on the different research areas and responses in order to disseminate the research. The micro–residencies took place once a week or twice a week depending on the duration of the exhibition. The invited seers were: Janice Howard BFA (Oxon), MA, SFHEA. Senior Lecturer in Fine Art Professor Helen Walkington BSc, PGCE, MSc. PhD, FRGS, NTF, PFHEA. Department of Social Sciences Deborah Pills BA Fine Art, Year 3 Kate Mohony Associate Lecturer Fine Art Through this unique method by Kelly + Jones they worked in depth with an appropriate and coherent process of practice as research. The context of creating and inviting other researchers to have a micro-residency and to site their occupations within the Kelly + Jones exhibition at The Glass Tank established practical reflection points through our own research and the trajectories of the seers own research interests - working in parallel. The outcome of the seers residency programme and its engagement with the Kelly + Jones exhibition as part of the research enquiry was that we were able to decentralise the research by opening it up to other researchers at various stages in their career without hierarchy. We have moved outside of the Fine Art community to gain fresh insight into our theory framework and site knowledge; this as evidenced by seer and geographer Professor Helen Walkington who brought new insight about the presence of flint within chalk beds and their significance around human activity.
    • Kelly + Jones In Conversation with Seers in Residence Artists for The Glass Tank

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (2020-04)
      This research event took place online during lockdown so that Kelly + Jones could share insights and learnings of the exhibition process with the seers. Kelly + Jones invited the seers to consider the geographical site(s) of chalk deposit, the original residency site of a Victorian school staircase and our own bodies as a site. In addition to this Kelly + Jones extend an invitation to the seers to create site-specific responses to the exhibiting context. The conversation was hosted by Kelly + Jones with Seers researchers: Janice Howard BFA (Oxon), MA, SFHEA. Senior Lecturer in Fine Art. Professor Helen Walkington BSc, PGCE, MSc. PhD, FRGS, NTF, PFHEA. Department of Social Sciences Deborah Pills BA Fine Art, Year 3 Kate Mohony Associate Lecturer Fine Art The outcome of this sharing event is a series of further research questions relating to the female form, marine life and performativity of the body. It also addressed the effectiveness and problematics of using practice as research as both a curatorial method for installing and working as an artist live in the context of a gallery setting, and the use of micro residencies as a methodology for practice as research. These discussions and reflections are now the basis for a series of essays and performative gestures that will form a new publication for late 2020/early 2021.
    • Kelly + Jones – The Glass Tank Solo Exhibition, CaCO3

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (The Glass Tank, 2020-01-15)
      Dr Traci Kelly and Dr Rhiannon Jones’ Solo exhibition entitled CaCO3 at The Glass Tank, Oxford Brookes University presented writing as a dynamic visual and lived encounter grounded in phenomenological, feminist and post-feminist perspectives. Kelly + Jones approached the plated glass architecture of The Glass Tank exhibition space as an aquarium that would be utilised as a research lab. There was a connection between the idea of the aquarium and the materiality of chalk which is a marine-life deposit and creating the ground for a living, evolving research ecology. The works we selected for and created within the exhibition have an unsettled status, existing in the interstice of documentation, artwork and survey. They encompass photography with attention also paid to materiality of the photographic print, drawing and made and found objects distilled from ephemeral gestures and performative encounters. The research activity subverted and ruined the representation of writing in order to privilege the visceral and subjective production of the writerly and resist the hierarchy of decipherable text. Kelly + Jones predominantly employed performance and performativity as a temporal mode of making to create a series of works through video, installation, photography, sculpture and marine artefacts. This practice as research exhibition by Kelly + Jones allowed them to explore: writing as object, writing as materiality, and the process of writing through the body as the subject invention, inherent in writing a subject into being. All the works produced for the exhibition offered partial glimpses into the material world of the human and non-human body (chalk deposits from past marine life), and their relationship to writing/language. The works exist in the interstice of documentation, artwork and survey with their unsettled status placing value on the unknowing within visual culture and research-creation. The exhibition also responded to the Glass Tank as a metaphorical aquarium, holding the remnants of past marine life in the materiality of chalk whilst creating a living ecology of research.
    • Keynote: Grant Kester in conversation with Rhiannon Jones.

      Jones, Rhiannon; Nottingham Trent University (InDialogue, 2016-12-01)
      Grant Kester was invited by Rhiannon Jones to speak at InDialogue to provide an international context and framework for InDialogue delegates on the use of dialogue in both practice and research. It was designed to be a conversation between Dr Rhiannon Jones and Professor Grant Kester – which took place at Nottingham Contemporary for InDialogue 2016. It was informed by a series of pre-rehearsed conversations that included time for reflections on the previous keynote by Professor Grant Kester at InDialogue in 2014. As a foreword to this conversation, reference was made to a previous conversation between Jones and Kester at InDialogue2014, (available here https://youtu.be/QDS4c-piY0w ) and the book written by Grant Kester ‘Conversation Pieces’ (2008), in which it is stated that conversations need to continue. To this end, the conversation for 2016 was carefully curated and designed to clearly signpost the dialogic methodological approach that both researchers take up as a position - which is that conversation is iterative and an ongoing / re-informing process. The decision was made to approach this conversation as a working paper, and to structure the conversation by application of a series of research questions to create a framework to generate a discourse between them, whilst also locating it within the national and international contemporary context for dialogic practice. It engaged with the overarching enquiry of InDialogue – which asks how artists and researchers use dialogue in their practice. This was then used as a device through which their conversation provided the engaging audience, made up of artists and researchers with the opportunity to present works, develop ideas and networks and to test out ideas. Their conversation part-curated, and part improvised discussion reflected their positions taken within the field about the role and use of the dialogic. In doing so, the conversation, engaged with contemporary references as well as those set out in texts written by Grant Kester, such as Conversation Pieces (2004) and The One and the Many (2011). The dialogue that occurred between Rhiannon and Grant set out the research terms of reference for the audience online and in the room - through which InDialogue engages with critically and practically. There was a total of 150 artists and researchers engaged with the session. It also embedded InDialogue as ' the only platform I (Grant Kester), know of that provides a space for substantive international exchange on issues associated with dialogue, across the boundaries of visual art, theatre and performance studies. It provides a rare opportunity for researchers and artists in all of these disciplines to learn from each other and does a great deal to advance the critical conversation in this burgeoning field. As dialogue and participation become ever more central methods across the arts and humanities events like InDialogue will only become more important. (Grant Kester, 2016). This conversation is considered as a live research enquiry, offering a specific time and space – literally and metaphorically for reflection and the generation of conversation. Equally this position or offering is addressed during the discussion - what is exactly meant by it? What can be ascertained through its use and what dialogic reflection means to the individual practitioner? The conversation opens with remarks from Rhiannon Jones on the movement of time, “both personally and professionally, certainly a lot has changed within the arts and academic communities world wide. So, what does that mean for us all on a day-to-day basis? How does this affect dialogically engaged practice research and where do we see this discipline heading over the forthcoming years? “(Jones, R. 2016 In Conversation with Grant Kester, InDialogue, UK) And Rhiannon continues by saying that “in speaking we will propose more questions and provide less answers - so that the conversation can indeed continue after this keynote with one another, and within our wide arts and research communities thereafter… “(Jones, R. 2016 In Conversation with Grant Kester, InDialogue, UK) Research Questions discussed: • When is dialogue “dialogic”? • What are the core principles? As artists and researchers, often working with the public in a very visible way, I would like to ask you what do you think our core principles for public engagement should now be? • How do we assess dialogical practice in the post-Brexit/Trump moment? Following on from this… How do we reassess the role of the dialogic, is the role of the dialogic more pertinent now than ever before as we enter a new era of post Trump and Brexit? • What are the limits of dialogue? How do we confront the limits of dialogue? Are there limits? How do we assess this? What do we measure dialogic practice against? Life/society/culture? • How do we measure impact? A question on the Impact of dialogic art projects – how do we measure impact – something we are asked to demonstrate more and more, is this something we can only achieve retrospectively? How are we living in an age of measurability and accountability, do we need to embrace this or fight against it – as artists as academics? Who is measuring who? Notes: Grant Kester, Professor of Art History and the founding editor of FIELD: A Journal of Socially Engaged Art Criticism. Kester is one of the leading figures in the emerging critical dialogue around “relational” or “dialogical” art practices. His publications include Art, Activism and Oppositionality: Essays from Afterimage (Duke University Press, 1998), Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004) and The One and the Many: Contemporary Collaborative Art in a Global Context (Duke University Press, 2011). His curatorial projects include “Unlimited Partnerships: Collaboration in Contemporary Art” at CEPA Gallery in Buffalo, New York in 2000 and “Groundworks: Environmental Collaborations in Contemporary Art” at Carnegie Mellon University in 2005. Kester's essays have been published in The Blackwell Companion to Contemporary Art Since 1945 (Blackwell, 2005). He is currently completing an anthology of writings by art collectives working in Latin America, in collaboration with Bill Kelley. Start YouTube video at 5:07:13
    • The kites are flying

      Hunt, Ava; Maggie Ford; University of Derby (2013-05)
      A television reporter’s experience in the West Bank reveals how children’s hopes and dreams for peace can fly higher than any wall dividing communities and religions. Why won’t Said speak? Why does he make beautiful kites and let them loose in the wind? Following actor Ava Hunt and Director Maggie Ford’s recent visit filming in the West Bank, join us for this new one-woman multimedia performance, bringing this beautiful story alive with laughter, thrills and tears to a land where friendship has no barriers.
    • L'uomo che dialogava con il coyote: una breve incursione sul tema «Joseph Beuys e sciamanesimo»

      Nicoletti, Martino; University of Derby, School of Art and Design (Edizioni Exòrma - Roma, 2011)
    • Land matters

      James, Jeremy; O'Connor, Denis (2012)
      An illustrated catalogue documenting a site specific sculpture project based at Ilam Park, Staffordshire, England in 2012
    • Layers of meaning, layers of truth: fragmented histories and composited video collage

      Bosward, Marc; University of Derby (Royal College of Art, 14/05/2016)
      The paper will present a body of ongoing practice-based research that interrogates the interface of live-action and animation, specifically, how found footage as an indexical element of lived experience functions within the aesthetic of a constructed ‘other’ world. Particular focus is given to how video collage, containing found footage components composed in the spatial as well as temporal dimensions, construct non-fiction explorations of the socio-historical world from an ontological perspective. The research explores how found footage elements are deployed to address themes relating to memory and history, with regard to how collective impressions of history are constituted and socially assimilated.
    • Layers, traces and gaps: Collage, found footage and the contested past

      Bosward, Marc; University of Derby (23/06/2017)
      Critical realism is an anti-reductionist approach that asserts the independence of an external world whilst accepting that knowledge of that world is socially constructed and transient. It offers an intermediate position that reconciles the binary opposition of objectivism and subjectivism, challenging the ‘false choice’ (Lovell, 1981) between empiricist and idealist ontologies. In recognising the dense complexity of being and the social world, it advances a stratified reality comprised of co-dependent structures and mechanisms. The paper will describe a framework for practice research that uses found footage and animated collage within a critical realist methodology. The research deploys strategies that privilege simultaneity, overlap and hybridity in articulating layered temporalities that foreground a dialectical conception of history. The practice explores how critical realist collage can challenge essentialist, unitary historical narratives that suppress the interdependence and complexity of socio-historical phenomena. Can the partial and irregular experience of remembering, evoking the contingent and furtive conditions of personal and collective memory be rendered through the aesthetic of moving collage? In reference to animated documentary, the work investigates how spatial and temporal found footage collage can expand the language of non-fiction films that address memory and the past. The paper will argue that the deeper understanding of memory and history that critical realism offers could be apprehended through the construction and mediation that the vocabularies of animation and collage contain.
    • Leading strategic change in arts: twist or bust?

      Mcgravie, David; University of Derby (27/01/2017)
      Reviewing leadership and management of strategic level operations and change, and will draw on a number of relevant and diverse organization level case studies of change looking at how HEI manage change.
    • Learning journal and portfolio tools

      Bryson, David; University of Derby (2012-12)
    • Left behind.

      O'Connor, Aisling; Clarke, Siobhan; McMahon, Daithi; University of Derby (Shannonside Northern Sound Radio, 2014-04)
      This production was heavily inspired by the Ann Lovett's story from 1984. Ann was a 15-year-old schoolgirl found dead at a Grotto in Granard, Co Longford in late January with her new born baby by her side. Both died of exposure. This drama suggests what might have happened had a heavily pregnant Ann fled Granard. The play explores the journey her daughter may have taken to uncover her mother's past in a community unwilling to discuss it. The writers were careful not to be overt in their references to the Ann Lovett story as it remains a sensitive subject in the area to this day. This drama is unique because it strives to give young Irish women with unexpected pregnancies a voice in a country where abortion remains illegal. The drama skillfully integrates flashbacks to the 1980s to imagine the struggle and pain Cyndi's mother must have experienced. The radio play was written by Aisling O'Connor (producer) and Siobhan Clarke (director). The production was produced and edited by This production was heavily inspired by the Ann Lovett's story from 1984. Ann was a 15-year-old schoolgirl found dead at a Grotto in Granard, Co Longford in late January with her new born baby by her side. Both died of exposure. This drama suggests what might have happened had a heavily pregnant Ann fled Granard. The play explores the journey her daughter may have taken to uncover her mother's past in a community unwilling to discuss it. The writers were careful not to be overt in their references to the Ann Lovett story as it remains a sensitive subject in the area to this day. This drama is unique because it strives to give young Irish women with unexpected pregnancies a voice in a country where abortion remains illegal. The drama skillfully integrates flashbacks to the 1980s to imagine the struggle and pain Cyndi's mother must have experienced. The radio play was written by Aisling O'Connor (producer) and Siobhan Clarke (director). The production was produced and edited by Daithí McMahon.
    • The legacy of Mad Men: cultural history, intermediality and American television

      McNally, K; Marcellus, J; Forde, Teresa; Fairclough, K; London Metropolitan University; Middle Tennessee State University; University of Derby; University of Salford (Palgrave Macmillan, 2019-12-12)
      For seven seasons, viewers worldwide watched as ad man Don Draper moved from adultery to self-discovery, secretary Peggy Olson became a take-no-prisoners businesswoman, object-of-the-gaze Joan Holloway developed a feminist consciousness, executive Roger Sterling tripped on LSD, and smarmy Pete Campbell became a surprisingly nice guy. Mad Men defined a pivotal moment for television, earning an enduring place in the medium’s history. This edited collection examines the enduringly popular television series as Mad Men still captivates audiences and scholars in its nuanced depiction of a complex decade. This is the first book to offer an analysis of Mad Men in its entirety, exploring the cyclical and episodic structure of the long form series and investigating issues of representation, power and social change. The collection establishes the show’s legacy in televisual terms, and brings it up to date through an examination of its cultural importance in the Trump era. Aimed at scholars and interested general readers, the book illustrates the ways in which Mad Men has become a cultural marker for reflecting upon contemporary television and politics.
    • Life Goes On

      Bosward, Marc; University of Derby (17/06/2016)
      Digital collage artworks included in group show: Juxtaposition an exhibition of contemporary collage and video art at The Museum of Club Culture, 17th June - July 10th. Curated by Mark Wigan and Kerry Baldry.
    • Life with and without animals: the second (Un)common worlds conference

      Bartram, Angela; Baker, Steve; University of Derby (University of Derby, 2020-11)
      Keynote speakers: Dr. Susan McHugh, Professor of English, University of New England and Snæbjörnsdóttir/Wilson - Dr Bryndís Snæbjörnsdóttir, Professor of Fine Art, Iceland University of the Arts, Reykjavík, and, Dr Mark Wilson, Professor of Fine Art, Institute of the the Arts, University of Cumbria, UK. Following the first (Un)common Worlds conference in Turku, Finland in 2018, called Contesting the Limits of Human – Animal Communities, the animal research group within the Digital and Material Artistic Research Centre at the University of Derby presented the second, Life With and Without Animals, a one-day online animal studies conference in November 2020. When the term ‘animal studies’ was coined in the early 1990s it was initially envisaged rather narrowly as a subfield of the social sciences, but by the time of two large and ground-breaking international conferences in 2000 – Representing Animals in Milwaukee and Millennial Animals in Sheffield – it was clear that the arts and humanities were at least as important to this nascent field as the social sciences. Some of the concerns of those early conferences remain as important as ever: the avoidance of anthropocentrism, an attention to the lives and experience of nonhuman animals that does not reduce them to symbolic representations of human values, and a recognition of the contested but necessary role of animal advocacy within the field of animal studies. Other priorities have shifted, perhaps most importantly in recognition of the impact of climate change, environmental degradation and species extinctions, and the changes these have brought about to our understanding of, and engagement with the more-than-human world. This conference conveyed a sense of what the interdisciplinary field of animal studies looked like in 2020, and included contributions in support of this proposal. Originally planned as a three-day physical conference for July 2020, this was rescheduled and re-orientated for online delivery over a day in November 2020 due to the Covid-19 pandemic. A recording of the day is attached to this record. Conference leads: Professor Steve Baker and Professor Angela Bartram.
    • Limited edition screenprint

      Levesley, Richard; University of Derby (2015-02)
      My work explores themes of humour, word play, narrative and visual storytelling. Focus is on the use of Illustration to explore personal voice and the extent that this can be applied to processes whilst retaining visual identity. I am interested in the process of Illustration and experimentation in various outputs, this is currently leading me into further visual treatment such as 3d laser cut artworks and ceramics.
    • Linking languages: Realigning design vocabularies [Editorial]

      Oddey, Alison; Benedetto, Stephen Di; White, Christine; University of Derby (Intellect, 2013-12-01)
      A crowded gallery, a theatre in the round or the backroom of a local pub can become more than a destination. These spaces are transformed when a group of people come together to share an experience, whether it is to view a display of Enlightenment curiosities, a representation of the pit of history or the history of the Canadian nation. Each space contains an event, which is designed, planned for, shaped and presented, to impart some mediated experience. Much of the vocabulary we use to describe the elements and principles for shaping the scene are a result of inherited assumptions made popular in the late nineteenth and early twentieth century. The challenges that have evolved with technologies have exerted tensions and pressures on some of the vocabularies we use, in order to describe the organization of scenes. Our relationship to the world is framed by our exposure to ubiquitous experiences and technological interactions. Our vocabularies and languages to describe technologies and discoveries maintain a static language even when a visual organization influenced by an ‘Ap’ icon is drastically different from those of the early industrial age. While our aspirations for creating artwork that challenges the world as it is, remains constant, our conception of what constitutes effective expression has changed.
    • Lo zoo delle donne giraffe: un viaggio tra i Kayan nella Tailandia del nord

      Nicoletti, Martino; University of Derby, School of Art and Design (Edizioni Exòrma - Roma, 2011)
      In the form of an extended travelogue combined with information relating to the recent history of the Kayan as well as to their mythology and religion, the work – based on experience during field-work in the north-west of Thailand in 2009 and 2010 – is an original contribution to knowledge in the field of the history of ethnic tourism among the Kayan. A sizable set of BW photographs – taken by the author using a 1920s Kodak box camera and a 1960s Agfa medium format camera – enriches the work, providing a rare contribution to the most experimental contemporary visual anthropology and lens-based arts. Text and images are, moreover, accompanied by a DVD containing an experimental Super-8 short by the author: "I Must Not Look You in the Eyes", a dynamic counterpart to the written and visual accounts, as well as to their specific mood.
    • The long commute

      McNaney, Nicki; University of Derby (2015-11)
      The Long Commute , is a screen-printed illustration submitted for the,‘Tales of the City' Cheltenham Illustration Awards, University of Gloucestershire. This work was inspired by the journey taken each morning from the country to the city and the differing experiences encountered along the way.