• 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, Nicky; 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.
    • Longing for the light: darkness, dislocation and spaces of exile

      Hall, Mark; University of Derby (Universitätsverlag Winter (Mar 2012), 2012-09)
      There have been many studies of light and this paper acknowledges all of the scholarship that goes before, however, this is not a study of light but a study of how light defines perceived identity and how our relationship to it in turn defines our own sense of self. I shall be examining work from different areas of the arts, literature, photography and film to develop my argument, showing how writers and artists have located both the subject and the reader/viewer to exploit this dynamic. Light, as Foucault reminds us, became the most visible symbol of those that, during the Enlightenment, sought to banish darkened spaces and create a visible society. This led eventually to Bentham’s design for the Panopticon which became a model of “‘power through transparency’, [and] subjection through ‘illumination’” which, as Foucault points out, could serve as a template for other areas of society where visibility was a necessary adjunct to other forms of more physical control (the police or the army). Light itself, defines space, sets its visible limits, reveals, creates and, as I shall show, establishes identities. Where one positions oneself, in relation to the light, depends on a number of factors and determines the limits of inclusion into what we may term civilized society. This paper sets out to look at instances where both spatial and individual identity is established through the position in which the subject is placed in relation to the light and its source.
    • Lord of the Rings – the Musical as a world musical product or just a British export?

      White, Christine; University of Derby (Intellect, 2015-10-01)
      The stage musical adaptation of J.R.R. Tolkien’s The Lord of the Rings, began in Toronto, Canada in 2006 and then transferred to London ending its run there in 2008. It is due to embark on a new world tour in 2015. Matthew Warchus, British theatre director created an extravagant, three-act stage production which received its premiere at Toronto’s Princess of Wales Theatre in March 2007. The production designed by Rob Howell, premiered in London in May 2007 at the Theatre Royal, Drury Lane and ended its run after 492 performances in July 2008. The musical was the first stage adaptation of the literary epic and followed the hugely successful film trilogy. A new tour, is being designed to accommodate theatres around the globe, and will launch in New Zealand in 2015 and although the countries of the tour have not been announced, there is much interest amongst Tolkien fans for its come back. The new touring version is billed as retaining the unique, thrilling and spectacular theatrical magic of the original production. The music is by Academy Award winner A.R. Rahman (Slumdog Millionaire), Värttinä and Christopher Nightingale. The lyrics and libretto are by Shaun McKenna and Matthew Warchus. The Lord of the Rings – the Musical has lighting by Paul Pyant, special effects by Greg Meeh, sound by Simon Baker and magic illusions by Paul Kieve. This article reviews the work as commercial product, revival or just colonial export of British or Canadian scenic motifs and stagings. The production began in Canada and reviews wavered between praise and defamation, between a spectacular production of sets and a celebrated new musical score. The link beneath is for the reader to get a sense of the production style and values, if you haven’t seen the musical, yet.
    • Luddite Drawings: a series of drawings (3) that explore process, performance and gesture, selected for the group exhibition ‘From Here & There: drawings from Colorado and Wales.

      Shore, Tim; University of Derby (2014-09)
      Luddite Drawings is a series of three A1 drawings made with pencil and carbon paper and using guides made in Adobe Indesign. Each drawing consist of two sets of closely aligned lines that cross each other at right angles. Luddite Drawings explores ideas around drawing, work, craft, repetition, copying and the presence and performance of the body in the drawing process. In making the drawings I set myself rules that I could not meet. I devised a game that pitched the production of the drawing against factors like tiredness, concentration, measurement and correctness. My methodology was guided by Marina Warner’s writing about play and the haptic qualities of making and experiential learning, David Pye’s theory of ‘the workmanship of risk and the workmanship of certainty’ and Tim Inglold’s notions of Wayfaring and Transport. The completed drawings were digitised and printed as A2 Giclée prints for the exhibition From Here and There: Drawings from Colorado and Wales. The exhibition was part of an international exchange of contemporary drawings between artists in Colorado and Wales. Exhibition catalogue available.
    • Lusitania: Beneath the surface.

      McMahon, Daithi; O'Connor, Fred; University of Derby (Radio Kerry, 2014-12)
      After the RMS Lusitania is sunk by a German U-boat off the south-west coast of Ireland in 1915 the people of the Blasket Islands in Co Kerry rallied to save as many souls as possible and nurse them back to health. This is the story of how one of those survivors unsettles the peaceful islands as his dark past is quickly catching up with him after an investigation is launched into the sinking.
    • Making a rock

      Locke, Caroline; Swann, Debra; University of Derby; The Academy in Antwerp; Nottingham Trent University (N/A, 16/03/2016)
      This collaborative project with Caroline Locke and Debra Swann was developed through a series of residencies at Primary, Nottingham and Summer Lodge at Nottingham Trent University 2016. The first exhibition at The Collectiv National Gallery, Antwerp, Belgium in 2016 and then developed further as part of an exhibition at Primary, Nottingham 2017. Making a Rock is an ongoing durational performance that attends to the physical construction of a large-scale object (a cardboard ‘rock’) embracing the potential of duration, temporality, liveness and performativity. Using photography, video and sound to document this process of making, the enquiry expands the vocabulary of sculptural practice through the focus of the durational aspects of making and the idea of the sculptural work in flux. This enquiry explores the process of making and collecting data. It investigates how we understand objects and sound and the properties and qualities they possess. Through the artist/object relationship a focus on the evolution of an object and the artist’s process is examined. Rock Music is a composition created using sounds taken from recordings of the artist Debra Swann making a huge cardboard rock. The artists have explored the different kinds of data gathered from their combined artistic practices. They extract the data and rework it in live performances and exhibited works. Rock Music explores sound in relation to domestic and labour intensive activity. The composition is cut onto a vinyl record which is played over and over within the exhibition space. The sound of the activity becomes abstract and otherworldly when amplified. Mundane working involves repetition – a strange rhythm develops – a kind of chant.
    • Making shaking shifting pouring sawing

      Locke, Caroline; Swann, Debra; University of Derby; Nottingham Trent University; Collectiv National Gallery, Antwerp; The Royal Academy of Fine Arts Antwerp (Primary Studios Nottingham, 2017-02)
      Making Shaking Shifting Pouring Sawing is an installation, exhibition and live Performance. The work explores the idea of repeated and intensive labour and the data gathered in relation to artistic and domestic processes. The exhibits and performances feature made and found objects and the data collected in relation to repeated activities whilst making or working with the objects. The data is retrieved as sound, physical data, digital imagery and animation. These elements are exposed as part of live performances and exhibited kinetic sculptures and devices. The project involved collaborative research explored by Caroline Locke and Debra Swann and was initially developed through a series of residencies at Primary, Nottingham and Summer lodge at Nottingham Trent University 2016. The first exhibition was in Antwerp, Belgium, at Collectiv National, Antwerp Gallery in 2016 (Collectiv National, was founded by Janna Beck and is linked to The Royal Academy of Fine Arts in Antwerp, Belgium). An exhibition and live performance at Primary, Nottingham followed in 2017. As an extension of Locke’s residency at Nottingham University, based across the Mixed Reality Lab and Horizon Digital Economy Institute, Locke and Swann worked with Assistant Professor Max Wilson and Horia Maior, who equipped Debra with a brain scanning device known as Functional Near Infrared Spectroscopy (fNIRS) in order to record mental workload levels during her creative making processes. Visualisations of the recorded brain data were projected as part of a live performance and exhibition. The brain data was also used to control various devices as part of the exhibition. For example: a motor uses the rate of brain activity to speed up and slow down a record deck. Rock Music is a composition created using sounds taken from recordings of the artist Debra Swann making a huge cardboard rock. The ‘music’ was cut onto a vinyl disc and played on the brain data controlled device. Rock Music explores sound in relation to domestic and labour intensive activity – The brain effort during the making activity controls the speed at which the record plays during the performances and exhibitions. Shaking Shelves is a kinetic sculpture which is also part of the live performance and exhibition. The brain effort during a cleaning and sweeping process controls the speed at which the motor attached to a shelving unit spins. The shelves are loaded with domestic items and the vibration and movement of the motor causes the shelves to vibrate and the items to shake and sometimes fall. The extended Performing Data research is funded by the Arts Council and explores ideas around body rhythms and physical data in connection with labour, multi-tasking and women's work. Locke is interested in capturing data and using it to control kinetic sculptures within an immersive environment.
    • Manifest destiny, violence and transcendence

      Bosward, Marc; University of Derby (09/09/2011)
      My principal area of interest is using digital media within a cross-disciplinary methodology that incorporates drawing, painting, collage, typography, moving image and writing.The primary theme that concerns the work contained within the exhibition is the human psychologies’ innate need to transcend the isolation of individual existence. Particular focus is given to the destructive and violent expressions of that need from a societal perspective. This central premise underpins the attempt to explore various sociological phenomena, historical and contemporary, related to authoritarianism, conformity and armed conflict.
    • Manifest destiny, violence and transcendence – an artist’s statement

      Bosward, Marc; University of Derby (University of Salford Press, 2012)
      My principal area of interest is using digital media within a cross-disciplinary methodology that incorporates drawing, painting, collage, typography, moving image and writing.The primary theme that concerns the work contained within the exhibition is the human psychologies’ innate need to transcend the isolation of individual existence. Particular focus is given to the destructive and violent expressions of that need from a societal perspective. This central premise underpins the attempt to explore various sociological phenomena, historical and contemporary, related to authoritarianism, conformity and armed conflict.
    • The Marion Adnams project

      Forde, Teresa; University of Derby (Derby City Council, 2020-03)
      This magazine article explores the significance of Marion Adnams as an artist from Derby who can be celebrated for her work and her status as a woman artist in the context of Derby’s International Women’s Day celebrations. It also showcases the Marion Adnams Project and the extent to which profiling this kind of work both raises awareness of Adnams and her work as well as the research activity currently being undertaken.
    • Marion Adnams symposium

      University of Derby; Derby Museum and Art Gallery; Forde, Teresa (07/03/2018)
      A unique opportunity to further explore the life and work of Marion Adnams, including the exhibition of Marion Adnams' work and her involvement in the Midland Group, as well as broader linked themes, such as the representation of women artists.
    • Matches.

      O'Connor, Sean; McMahon, Daithi; University of Derby (Newstalk 106-108FM, 21/03/2015)
      Matches is the story of Tom, a recovering alcoholic looking for love in a world of dating apps, social media and the ever-present lure of alcohol. Exploring this mysterious sub-culture, Tom discovers some of the thrills and pitfalls of the modern dating scene. Tom Brody is a Dublin man in his late-thirties recovering from alcoholism. Tom's recent sobriety has brought many improvements. He is happier, healthier and getting on better with his family. The one area he finds more difficult is dating. Without the reliable meeting place of the pub, Tom finds meeting women more complicated than ever in a social scene still dominated by drinking. Furthermore, without the traditional 'Dutch courage', Tom feels more than a little awkward approaching the opposite sex sober. A friend introduces Tom to Quiver, the latest dating app for everything from lifetime relationships to random hookups. Along the way he conquers his awkwardness with social media and discovers some strange rules and peculiarities of the online dating world. Tom's initial success on the single scene pushes him to take ever greater risks with his sobriety as he encounters the pitfalls of keeping his history a secret. Ultimately Tom learns that being honest with himself is as important as being honest with others and that meeting his ideal match is about more than a perfect dating profile.
    • The material-discursive border & territorial-apparatuses {the Eile project}

      McCloskey, Paula; Vardy, Sam; University of Derby (Architectural Association of Ireland, 2020)
      Through our trans-disciplinary practice, a place, of their own , and one specific project based at the UK border with the Irish Republic, we discover, occupy and create (alternate) 'field conditions' of various kinds. Our ongoing art and spatial research in The Eile Project draws together different bodies of knowledge, experience and practice; from art, architecture, urbanism, philosophy, and science, to create new imaginaries and cartographies of the border. This is a particularly apposite time for such an endeavour - as the UK's protracted and contentious manoeuvres to leave the EU create renewed tensions and uncertainties at the Irish Border, and borders and their most brutal and basic spatial manifestation of the wall are increasingly being built around the world, physically and in the collective imagination.
    • Matrimony, The Fall and A Moment in Time.

      McNaney, Nicky; University of Derby (2018-01)
      Drawings inspired by the nomadic German artist Martin Kippenberger’s Hotel Drawings and created for the Art on Hotel Note Paper exhibition, Visual Arts Centre, Scunthorpe,Lincolnshire.
    • Medical Ephemera; A series of six screen-printed illustrations

      McNaney, Nicky; Allanson-Smith, Tracy; University of Derby (2015-03)
    • Memories of our youth: the viral spread of radio station Facebook posts

      McMahon, Daithí; University of Derby (University of Westminster Press, 2020-03-17)
      Radio and social media have developed a strong relationship in Ireland since the explosion in popularity of the latter from 2008 onward. Although the convergence of radio with Facebook in Ireland has allowed radio stations to reach wider audiences, some stations have been much more successful than others at achieving this. In this article the author presents a case study of Beat, a regional commercial radio station targeting the ‘digitally native’ (Palfrey and Gasser, 2010) millennial 15–34-year-old market, and one of the Irish Radio Industry’s most successful viral media instigators. During the period of study, 2011–2016, Beat was found to be very successful at engaging its audience through bespoke material that connected emotionally with the cultural community. The success of this viral reach helped the station grow its online followers to numbers that far outnumbered their actual listenership. In this article the author presents an analysis of the viral posts that feature childhood toys as the subject matter and explore why these pieces ‘went viral’. Using the generational theories of Mannheim (1952) and Strauss and Howe (1991) among others to frame the argument, the author posits that users share media texts which connect with them emotionally and by enjoying this material with others are unified as an affective community of individuals. This experience brings the group closer together and closer to the radio station. I also touch on the power of nostalgia as a factor in the viral spread of media texts. This research employed several research methods: in-depth interviews with radio industry professionals, an online survey of radio listeners/online users of Beat, textual analysis of Beat’s Facebook page, direct observation of radio producers and content analysis of social media growth.
    • Mermaids are always welcome

      McNaney, Nicky; University of Derby (The Tetley, 2017-03)
      Screen-printed Artists Book exhibited at the Contemporary Artists’ PAGES, Book Fair, The Tetley, Leeds.
    • Micro

      Fisher, Craig; University of Derby (AIR Gallery, Altrincham, 2019)
      Fisher was selected to participate in the group exhibition, Micro at AIR Gallery which was an open theme exhibition of over 100 small works by rising stars in contemporary art, working across a vast range of media. Fisher exhibited a number of ‘Homemade Devices’ which were highly commended by exhibition selectors.