Now showing items 1-20 of 564

    • The (in)separability of matter: on prāṇa, energy and permeation

      Sharples, Victoria; University of Derby (2021-10-01)
      ‘The (in)separability of matter: on prāṇa, energy and permeation’ is a paper in response to a three-year practice-led study, which speculates on (non)human bodily ‘intra-activity’ (Barad, 2007) relative to cremation practices at Pashupatinath Temple and along the sacred and contaminated Bagmati River in Kathmandu through Gas Chromatography–Mass Spectrometry (GC-MS) and Inductively Coupled Plasma–Mass Spectrometry (ICP-MS) ash analysis readings. It is the outcome of field research, laboratory experiments and a series of participatory projects which aim to unbalance asymmetric tendencies which assume the ontological separation of the human and non-human through collective; microperformative, practices. Realised between 2018–2020, Ash is an international (e)mail art project in which three pieces of Nepalese Lokta paper were placed on the surface of the Bagmati downstream from Pashupatinath. Once dried, participants sent their contributions to the UK using their closest postal service. Contributions were received from artists Sagar Manandhar and Pratima Thakali from Kathmandu University, and from Nepali musician Anil Shahi. On arrival, the substrates were incinerated and analysed through GC-MS and ICP-MS at the University of York and the University of Leeds. Through the intersection of art, ecology and New Materialism, this paper calls into question the permeability of organic and machinic matter as agential, osmotic and energetic (Salter, 2020). It builds on the assumed ‘aliveness’ of ‘live art’ practice (Hauser & Strecker, 2020), and calls on ‘passive’ matter to contribute to this discourse. For ENERGY: SLSA 2021, this paper unpacks the spiritual substance of prāṇa as an energy-current that permeates all.
    • Design for Planet: Shedding

      Jones, Rhiannon; Slabbert, Barend; VandA Dundee; University of Derby (Design Council, UK, 2021-11-08)
      Dr Rhiannon Jones was invited by the Design Council, UK to design a bespoke S.H.E.D Installation for Design for Planet, which was commissioned by the Design Council for installation at the V&A Dundee. The research activity was divided into four distinctive elements: A workshop with local Dundee schools to engage with the local community on climate change. A bespoke S.H.E.D that was created and positioned outside the V&A Dundee, for public engagement and interaction. A bespoke pledge wall that was designed for, and installed inside the V&A to capture pledges from design leaders as a call for action A sound pod installation designed for, and installed inside the V&A, that had original podcasts created by children aged 6 - 18 with EmprezU from Derby, on the subject of Climate Change. The combination of these elements resulted in a dynamic creative placemaking methodology for engaging the public of Dundee, local schools in Dundee and global leaders in design experts through the use of a co-designed civic space. . The installation addressed how to co-design S.H.E.D for the V&A and the Design Councils theme of climate Change. The installation responded to the themes of co-creation with communities, and content displayed on S.H.E.D reflected the local community of Dundee, allowing for public consultation and engagement with artistic content on display from a range of artists and partners from the UK. Barend Slabbert supported this research activity with creating the visualisation of the designs and install processes along side the Designing Dialogue CIC which delivers S.H.E.D.
    • Arts Imagining Communities To Come

      Jones, Rhiannon; Universidad de las Artes del Ecuador (UArtes); University of Derby (Cumulus Association, 2021-11-11)
      Dr Rhiannon Jones was invited to chair an online workshop that was designed to provide a call to action for the art and design industry to commit to a sustainable, climate-first future. The workshop provided an opportunity for academics to participate in a discussion about Imagining communities of the future. In order to enable this, Dr Jones shared learnings from DesignforPlanet www.designforplanet.org where she had returned from the Design Council, UK summit, for COP26 as a guest speaker. A landmark event to galvanise and support the UK’s design industry to commit to a sustainable, climate-first future in response to COP26, hosted at the VandA Dundee; the only UNESCO Design City in the UK. This workshop provided time to disseminate key objectives and reposition these within the art and design global network of Cumulus. Colleagues from the UK, Finland, Italy, Ecuador, Germany. This international research activity allowed Dr Jones to discuss artistic approaches for co-designing with communities in urban and rural locations. This, workshop resulted in perspectives on the industrialisation of countries and perceptions of the impact of the climate crisis being shared and reinvigorated the questioning of the value of art and design, as an instigator and leader for climate change. The workshop led by Dr Rhiannon Jones sat at the heart of Cumulus Conference Guayaquil 2021: Arts Imagining Communities To Come. It promoted academic reflections and artistic performances focusing on different ways of working with local communities. It invited artists, scholars, professors, and researchers to share their experiences and reflections on this matter, pre, during and after the pandemic.
    • Cocreate with community

      Jones, Rhiannon; V&A Dundee; University of Derby (2021-11-08)
      Dr Rhiannon Jones was invited to present her research at the Design Council, UK summit hosted at the V&A Dundee. Dr Jones spoke of codesign and cocreation with communities, and the methodology of the S.H.E.D as a reseraxhc process to work between communities and H.E and how it can work towards creating influnce and driving policy change. It also gave example of how design is conceptualised in terms of the root, greek definition for dialogue - as something that is moving, living, and transforming. This application towards an object, such as a shed in order to create a transformative/reconfigurable arts space as a way to consult with and problem solve matters such as climate change. 120 Global design leaders and innovators were invited to the Design Council Summit to listen to the talk, in response to COP26. Along with an online audience of over 5,500. Design for Planet was a landmark festival to galvanise and support the UK’s design industry to commit to a sustainable, climate-first future. The two-day event will give a platform for visionaries across the sector who are leading the way in sustainability and climate action, and will support others in the industry to prioritise the welfare of our planet in their work. Design for Planet welcomed over 100 invited experts and was live streamed to thousands of online participants.
    • Dark Fringes: Complexity and Emergence in Realist Collage

      Bosward, Marc; University of Derby (2019-06-13)
      The paper will present practice research at the intersection of collage, animation, found footage film and documentary. The research investigates the capacity of the fragmented, layered language of collage to engage the stratified, laminated reality advanced by the philosophy of critical realism. In contrast to empiricism and idealism, critical realism recognises the socially embedded, material and historically situated basis of knowledge production. In response, the research pursues a multivocal and pluralist approach to representation that the paper claims is necessary in apprehending the dense complexity of social relations. The project examines the status of archive footage as evidence of the multiple mechanisms and structures that have generated historical events. This draws from the critical realist concept of emergence in interrogating how the meaning of archive materials is mediated thorough the convergence of layers in collage aesthetics. This suggests that the spaces at the fringes of collage fragments can address the tension and exchange between facts and values in the negotiation of reality. The paper argues for the recognition of the interstitial space between and around evidence and facts, advancing an approach to realism open to the role of imagination and narrative in how we understand the world. In reference to the politics of layered realities, collage is suggested as a tool for challenging reductive accounts of the social world that obscure the power relations that determine events. Specifically, through aligning a critical realist engagement with intersectionality with postcolonial and Marxist perspectives, the work aims to contribute to the decolonisation of the mainstream media’s representation of the working classes and social history.
    • Layered Realities and the Narration of History

      Bosward, Marc; University of Derby (Cambridge Scholars Publishing, 2020-12-17)
    • Proximity collective

      Howard, Rebecca; Atkinson, Anne-Marie; Hall, Antony; Carragher, Ann; Haynes, Jackie; Ford, Sarah-Joy; a-n The Artists Information Company; Manchester Metropolitan University; Abingdon Studios; University of Cumbria (2021-09-29)
      The Coast is Queer was an online two-day event hosted by founding director of Abingdon Studios, Garth Gatrix. The event, which was part of of the a-n Assembly 2021, invited artists and art organisations to participate in discussions around queerness and coastal practices. Following an exhibition at Abingdon Studios in Blackpool, Proximity Collective (an artist group from Manchester, Leeds and Blackpool) were invited to share their own experiences of working both collectively and individually as practicing artists and researchers.
    • Belong

      McMahon, Daithí; O'Connor, Fred; University of Derby; Independent researcher (2020-07-26)
      'Belong’ is a contemporary radio drama set in Dublin, told from the perspective of Christy - a single homeless man in his late fifties. Following the breakup of a long-term relationship he loses his job due to his mental health issues and is evicted from his bedsit when the property owner decides to convert the building into luxury apartments. Unable to find affordable accommodation, Christy is forced to take refuge in emergency hostels but eventually ends up sleeping rough on the streets. Christy's depression makes him extremely anxious, withdrawn, and afraid of connecting with new people or reaching out for help. Despite this, Christy befriends Kevin, a young man who spent much of his youth being abused while in foster care and now living on the streets. A rehabilitation opportunity emerges which can save Christy - but can he help Kevin avoid a life on the streets? In the radio drama, ‘Belong’ the authors aim to raise awareness for the homeless crisis in Ireland, and give those struggling on the streets a national voice. In highlighting the plethora of challenges facing those struggling to maintain a roof over their head, the issue of spiralling property crisis which is impacting generations of vulnerable people across the country is laid bare. Another key focus of the drama is the cultural stigma around mental health issues, the lack of key support services for those with limited means, and the resulting struggle for those affected to reach out and access help. The drama is also in recognition of the many staff and volunteers who are helping those on the streets of Ireland every day of the year through organisations such as the Simon Community, Focus Ireland and many more. This project was funded by the Broadcasting Authority of Ireland with the Television Licence Fee. ‘Belong’ is brought to you by the multi-award winning team at Henchman Productions that brought the previous audio dramas Home Again, Matches and Yummy Mummy to Newstalk. The team has won six New York Festivals International Radio Awards, competed at the Prix Europa in 2015 and 2016 and won Best Drama at the PPI Radio Awards 2015. CREDITS: ‘Belong’ is a Henchman production written and directed by Fred O’Connor and Daithí McMahon. The drama was produced by Daithí McMahon and Aisling O’Connor and recorded at Tinpot Productions with sound by Sean Byrne. The role of Christy was played Morgan C. Jones with performances by Karen Scully, Ken Fletcher, Aoibheann McCann, Laura Kelly, Caroline Power and Fiach Kunz. Selected musical pieces by Kevin MacLeod.
    • Social Software: Archives, The Digital and Radical Histories

      Bosward, Marc; University of Derby (2019-06-03)
      This paper will present practice research that sits at the intersection of animation, found footage film and documentary. The research deploys archive film and animation in the production of experimental non-fiction collage that challenges hegemonic, institutional histories. The practical methodology, informed by critical realism, uses digital compositing and layering to render an explicitly constructed aesthetic that foregrounds the ontological distinction of the elements it combines. This fragmentation is engaged to rupture the seamless, unitary realism of conventional compositing, opening a space for a plurality of alternate voices that the flat, corporate realism of orthodox digital media obscure. This aims to connect digital compositing to the radical politics that drove collage practice at its emergence in the modernist movements of the twentieth century. The paper argues that the political reconfiguring of creative software must involve sensitivity to how dominant ideologies are conducted through digital technologies. The work aims to develop the role of digital media practice in addressing shifting notions of reality and politics, arguing that collage techniques can cut against the homogenising effects of capitalism in visual cultures, a homogenisation that collapses the complexity of reality, nullifies the recognition of real social relations and circumscribes the possibility of a more progressive politics.
    • Wales on Film: Memory, Identity, Politics

      Bosward, Marc; University of Derby (2019-05-11)
      The paper will present a practice-based project that addresses the history of South Wales through the materials held at the National Screen and Sound Archive of Wales. Informed by critical realism, the work investigates the capacity of collage methods in negotiating archive film to uncover marginalised aspects of the past that are obscured by dominant narratives. Consistent with the fluid, plural conditions of memory and identity, the research regards archive footage as a site of malleable social meanings that are contingent on varying contexts of appropriation, recontextualisation and reception. In contrast to conventional documentary representation, the practice is underpinned by the argument that alternate, experimental strategies that foreground layering, fragmentation and ambiguity are better suited to represent the complexities of history. The project asks if a deeper understanding of the past can be apprehended through the construction and mediation offered by the vocabularies of archive film and collage.
    • Caennenau

      Bosward, Marc; University of Derby (2019-03-15)
    • Layered Realities and the Narration of History

      Marc, Bosward; University of Derby (QUAD/ FORMAT, 2019-03-15)
      The paper will present practice research that explores the intersection of collage, found footage film, animation, documentary and critical realism. The practice investigates digital compositing, hybridity and the capacity for spatial layering to generate an intermediate, unstable aesthetic that can’t be assigned to any singular, unitary ontological level. The paper argues that these conditions provoke an elasticity and ambiguity that dissolves binary distinctions between the subjective and objective, reflecting the non-dualist standpoint of critical realism at a medial point between positivist and idealist perspectives. The research deploys the particular plurality of collage as a disruption to ideologically conditioned appearance forms (Leslie, 2015). This posits the practice as a challenge to reductive accounts of the socio-historical world in dominant visual cultures. The paper claims that in contrast to unmediated live action images, collage has the potential to more adequately describe the complexity and contingency of reality. This emphasizes the non-empirical factors that play a role in how we produce and negotiate historical narratives (Skoller, 2005). In response to the invariable presence of narrativization (White, 1987) and the impossibility of objectivity in documentary production (Winston, 1995), the explicit construction of the collage aesthetic is deployed to address the gaps and ambiguities of historical discourse. This aims to work against the suppression of ambiguity present in orthodox documentary, a process that Michael Chanan (2008) has called ‘structuring absences’. From this perspective, the history inscribed in found footage is explored with the intention of uncovering and foregrounding aspects of the past that have been marginalised or forgotten. The paper asks if a deeper understanding of history can be apprehended through the construction and mediation offered by the vocabularies of found footage and collage film.
    • 40 Years Of Derby Carnival

      Basi, Philip Ranjit; University Of Derby (University of Derby, 2015-08-01)
      This documentary celebrates the 40th year of the Derby Carnival, an annual arts, culture and recreational project/event planned and organised by the Derby West Indian Community Association. The Derby Caribbean Carnival has been going for many years and in fact started out as a small festival in 1975 being held at Moorways Sports Centre where members of the community came together to organise various activities in order to raise funds. Although the carnival is organised by the DWICA, we work collaboratively with other organisations and interested parties to programme and deliver the event. It was not until 1986 when more emphasis and resources were put into the carnival and they employed a worker for Caribbean Focus 1986. From here on in the carnival became a much bigger venture, attracting much more interest not just from the East Midlands region but nationally. Originally the carnival was held over one day on a Saturday but in 1998 we tried a new approach whereby the carnival was held over two days with the procession taking place on the Saturday and events, such as stage show with internationally acclaimed artists, fun fair, beer tent, sound systems, arts and craft stalls, food stalls (selling Caribbean as well as European foods) being held on Osmaston Park on the Sunday. This proved to be very successful and since then the carnival has been held over a two day period. Over the years most of the funding has been provided by the organisation itself but we have been fortunate in the past to also have received funding from Arts Council (East Midlands), in kind support from Derby City Council, although more recently we have received infra-structure cost from the Derby City Council. We have been sponsored by Derbyshire Building Society, Rolls Royce, Western Union and Midland Mainline to name just a few. During the carnival period it can attract as many as 150 volunteers to help in areas such as the organising of the carnival, carnival workshops, carnival queen show, marshalling duties both on the procession day and on carnival day as well as doing other duties. The carnival costume workshops provide an opportunity for the professional facilitators to pass on the skills of costume making to both young and old, in order that they can then start to take over the running of the costume workshops.
    • Derby Voice Documentary Short

      Basi, Philip Ranjit; University Of Derby (University of Derby, 2021-09-01)
      This observational documentary short captures the enthusiasm and passion of the Derby Voice exhibition part of research project responding to the need for creating a space for civic dialogue and social cohesion in relation to justice and protest in the UK. The objective of Derby Voice is to provide a platform to those young people in our city, to showcase their artistic talent and for their views on the issues that matter to them to be heard loud and clear. Being born and brought up in the city this was an ideal opportunity to utilise my expertise and experience e and capture and documentary t the event for future dissemination and a starting point for others to have dialogue around the issues raised. This all so offered a unique opportunity of collaboration between creatives across the university and beyond.
    • 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.
    • 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.
    • Proximity Collective

      Howard, Rebecca; Atkinson, Anne-Marie; Haynes, Jackie; Hall, Antony; Charragher, Ann; Joy-Ford, Sarah; Abingdon Studios, Blackpool; University of Derby (2021-08-26)
      Proximity Collective (artist group, established in 2019) explore the social and spatial aspects of practice-research and notions of convivial aesthetics. In 2021, they were invited by Abingdon Studios to showcase their work in the window space and the upstairs project space. The idea of the exhibition was to demonstrate how working collectively has impacted their individual practices and their approaches to practice-as-research.
    • The Beginning of Process: 1 of 366 prints taken from the same plate and The End of Process: 366 of 366 prints taken from the same plate

      Bartram, Angela; University of Derby (2021-09)
      Prints numbers 1 and 366 from the series 366:366 (finally) were exhibited in the All the Small Things exhibition, Artcore, Derby, September 2021. For the leap year of 2016 I exhaled on an etching plate every day. 366 breaths layered on the same surface, in the same place, and at roughly the same time. The accumulative breaths charted the process of isolating and capturing those layered singular exhalations, and over the next 4 years the act was reversed through printmaking methods. ‘366:366 (finally)’ was a work in and indebted to process; a series of prints made from the etched plate to match the number of breaths which scored it’s image.
    • A Woman's World

      Bartram, Angela; Parker, Christine; University of Derby (2021-09)
      What happens in the daily life of a woman in a DAC nation? What challenges do they face; what delights do they encounter? This artistic research project captures the daily activities of young women living in Mexico or of Mexican decent. The video tells the story of a month that is normal, domestic, and part of the personal and everyday for these women.
    • Civic LAB Symposium 2021

      Jones, Rhiannon; Murden, Jade; McMahon, Daithi; Hawthorn, Matt; University of Derby (University of Derby, 2021-07-08)
      The online Symposium: CivicLAB presents the work of researchers, artists and creative industry colleagues from across the UK, including international colleagues from Venice, Finland, USA. Speakers were from European Cultural Academy , Tate Exchange, Derby County Community Trust, Derby Theatre, Derby Cathedral, University of Manchester, East Street Arts, Space and Place Lead, Council for Higher Education Art and Design (CHEAD), Fashion Academics Creating Equality (FACE), University for the Creative Arts, Cumulus Association, University of Swansea, Mighty Creatives, University of Nottingham, University of Derby, Each speaker focuses on participatory culture, creative dialogue and experiential design for social impact. Questions asked include: How do we build communities (Manzini, 2019) and how can we create the conditions in which those communities can sustainably develop, innovate and thrive within the social, economic, environmental and cultural challenges of the 21st century? Researchers and practitioners in the LAB amalgamate a diverse span of creative practices and perspectives across the arts and social sciences to contribute to this burgeoning field of enquiry; interrogating, extending and redefining the value of creative practice to the public sphereThe Symposium events were organised and curated by Dr Rhiannon Jones supported by co-conveners Dr Daithi McMahon, Jade Murden and supported by Matt Hawthorn, The Symposium includes papers, presentations, panels, Keynote and workshops by the following international speakers: Dr Cara Courage, Dr Daithí McMahon, Dr Nick Owen (MBE), Dr Annie Tubadjiat, Dr Larissa Allwork Dr Rhiannon Jones, Dr Clive Holmwood, Dr Teresa Forde, Dr Maria Photiou, Dr Gemma Collard-Stokes, Panel Speakers: Liz Ange, Alexandra Laqueuer, Anna Lindberg, Benita Odogwu-Atkinson, Sandra Booth, Caroline Barth, The Very Rev'd Dr Peter Robinson, Dr Victoria Barker, Professor Cecile Wright, Simon Carnell.