• Fabrica-tactilis, skilful production, structure - Fabric that may be touched, tangible

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

      Lennox, Peter; Myatt, Tony; University of Derby; University of York (Schulich School of Music, McGill University, 26/06/2007)
      Recent work in audio and visual perception suggests that, over and above sensory acuities, exploration of an environment is a most powerful perceptual strategy. For some uses, the plausibility of artificial sound environments might be dramatically improved if exploratory perception is accommodated. The composition and reproduction of spatially explorable sound fields involves a different set of problems from the conventional surround sound paradigm, developed to display music and sound effects to an essentially passive audience. This paper is based upon contemporary models of perception and presents proposals for additional spatial characteristics beyond classical concepts of three-dimensional positioning of virtual objects.
    • Audio-tactile multimodal perception of tissue-conducted sound fields

      Lennox, Peter; McKenzie, Ian; University of Derby (26/05/2017)
      Approximately 5% of the World’s population, that is, 360 million people, suffer from “disabling hearing loss” and the proportion of over-65s rises to about 33%. 13.4% of geriatric patients have significant conductive components to their hearing loss. For this segment of the population, “music deprivation” may have significant long-term health and wellbeing consequences amounting to diminished quality of life (QoL). Assistive technologies implementing sensory augmentation could ameliorate the effects of lack of ready access to music, the experiential attributes of music listening can be reinstated and tangible benefits might accrue.
    • Music as artificial environment: Spatial, embodied multimodal experience

      Lennox, Peter; University of Derby (Routledge, 26/04/2017)
      This chapter is a speculative exploration of the near-future possibilities of spatial music. Technologically, we can control many hundreds of loudspeakers and, conceivably, many thousands. What would we do with them? Here, music is considered as a particular example of arti cial information environments, with consequences for the perception of space. Arti cial information environments are those environments in which information transactions are governed by design. The distinction is clear in comparison with natural environments, but a ner distinction can be drawn between man-made environments (such as buildings), where some information transactions are haphazard, and information environments whose main purpose is to display information.
    • Head space and Dark days.

      McNaney, Nicki; University of Derby (Broken Grey Wires, 26/02/2018)
      Broken Grey Wires is an ongoing investigation into art and mental health by developing a dialogue with leading contemporary artists. Two screen-printed illustrations,Head Space and Dark Days are included in an artist book Psycho published by Broken Grey Wires.
    • Interactive sound fountains

      Locke, Caroline (25/11/2011)
    • The revival of the ancient technique of printing with mordants and dyeing in bi-colourants to achieve contemporary poly-chromic designs

      Wells, Kate; Churn, Kate; University of Derby (NOVA University of Lisbon Campus Caparica / Caparica Portugal, 25/10/2018)
      This paper explores the creation of a range of sustainable patterned fabrics by employing various Bio-colorants (natural dyes) in combination with a range of mordants that have a lesser impact upon the environment to create a poly-chromatic design within single dyeing process. Practice based research was undertaken into dyeing and printing with Madder, Logwood, Weld and Woad or Indigo in combination with a selection of mordants Alum, Copper Acetate, Iron Acetate and Tannins onto a range of fabric bases which includes the new regenerated fibres alongside traditional natural ones as a sustainable option (1, 2). Mordants that have been used from ancient times produce a pattern during the dyeing process. By looking at these historical (3, 4) and traditional applications (5) from across the globe, it was hoped that a more sustainable method of patterning either through printed (screen and block), stencilled or hand-painted techniques could be designed. According to Robinson (6): Pliny the Elder (AD 23-79), writing of the ancient Egyptians, stated that, ‘Garments are painted in Egypt in a wonderful manner, the white clothes being first coated, not with colours but with drugs which absorb the colours. Although the dyeing liquid is one colour, the garment is dyed several colours according to the different properties of the drugs which have been applied to the different parts: nor can this be washed out’ It is thought that this passage was describing madder dye alongside as the various mordants – alum, iron salts and copper salts as they were known at that time (7). Since this ancient time, the application of natural dyes evolved over the centuries into an advanced form of dyeing as this was only form of permanently colouring fabrics until the advent of synthetic dyes by Perkins in 1856. The ‘Art of Dyeing’ became a highly secretive and protected practice with the formation of Dyers Guilds from the 14th c. The technique of the application of different mordants to create more than one colour evolved within the Far East employed initially to produce the ‘Indienne mania’ (Chintz) madder dyed calicos of the 17th c. and 18th c. and later with the development of ‘Turkey Red’ prints, the secrete of which remained undisclosed until the late 18th c. (7). (1) Garcia. 2012, Natural Dye Workshop: Colors Of Provence Using Sustainable Methods, London: Studio Galli. (2) Dean, J, & Casselman, K. 1999, Wild Colour, London: Mitchell Beazley. (3) Bird. 1875. The Dyers Handbook. USA. (4) Hummel, J.J. 1885. The Dyeing of Textile Fabrics. London: Cassell & Company Ltd (5) Bilgrami, N. 1990. Singh jo Ajrak. Pakistan: Department of Culture and Tourism Government of Sindh. (6) Robinson, S. 1969. A History of Dyed Textiles, London: W & J Makckay & Co Ltd. (7) Chenciner, R. 2001. Madder Red: A History of Luxury and Trade. Richmond: Cuzon Press. (8) Storey, J. 1992 The Thames and Hudson Manual of Textile Printing. London: Thames and Hudson.
    • The body as instrument: tissue conducted multimodal audio-tactile spatial music.

      Lennox, Peter; McKenzie, Ian; Brown, Michael; University of Derby (25/08/2017)
      We describe early progress in exploring the compositional potential for multimodal music of a multi-transducer audio-plus-vibrotactile apparatus, utilising ambisonics encoding; the tactile component is an incidental by-product, carried by the same transducers. An elicitation exercise with one hundred uninstructed listeners who gave responses in their own words was conducted and responses were transcribed and aggregated to identify emergent descriptive themes. The tactile components of the stimuli assume greater importance in the perceptual experience than originally considered, suggesting compositional opportunities in utilizing additive effects of audio-plus-tactile signals. This could engender assistive technologies for those with some degree of conductive hearing loss, ameliorating music-deprivation and addressing quality-of-life (QoL) issues.
    • Sustainable solar surface decoration: the correlation between Anthotype principles with plant extractions as a form of eco-patterning for fabrics

      Wells, Kate; Greger, Ness; University of Derby (The Textile Institute, 25/04/2016)
      This paper discusses design research undertaken into the correlation between natural dyes (plant extractions) and the alternative photographic process of Anthotypes discovered in the early 19th Century. The paper explores the relationship between natural extracts (dyes) with their fastness properties in relation to the success of this photographic process and the potential this form of imaging has as a sustainable/health giving form of surface decoration for textiles: A form of Eco-patterning that relies upon light and natural substances/dyes not synthetic dyes as the colouring medium. Instigated by the output of collaborative research between two different disciplines: That of textile design and early colouration methods with historical photographic imaging techniques. The research project considered the symbiotic relationship between natural plant extracts with the success of Anthotypes. The aim of which was to consider the question: Could this kind of photographic image making be applied as a future, sustainable method of design generation, colouration and patterning of fabric for fashion and interiors? The objective was in creating an alternative sustainable surface design process that relies upon light and natural substances/dyes not chemical dyestuffs and pigments as the main patterning and processing medium. The outcomes of which could also provide medicinal healing qualities by wearing clothing or sleeping on material that has been coloured with natural plant extracts (dyes), an added health bonus.
    • The “Three Ps” (perfecting, professionalization, and pragmatism) and their limitations for understanding Cuban education in the 1970s

      Smith, Rosemary; University of Nottingham (Rowman & Littlefield, 24/08/2018)
      This book provides, for the first time, a comprehensive assessment of the 1970s which challenges prevailing interpretations. Drawing from multidisciplinary perspectives and exploring a range of areas--including politics, international relations, culture, education, and healthcare--its contributing authors demonstrate that the decade was a time of intense transformation which proved pivotal to the development of the Revolution. Indeed, many of the ideas, approaches, policies, and legislation developed and tested during the 1970s maintain a very visible legacy in contemporary Cuba. In highlighting the complexity of the 1970s, this volume ultimately aims to contribute to a greater understanding of the Cuban Revolution and how it chooses to face the challenges of the twenty-first century.
    • Perceptual cartoonification in multi-spatial sound systems

      Lennox, Peter; Myatt, Tony; University of Derby; University of York (24/06/2011)
      This paper describes large scale implementations of spatial audio systems which focus on the presentation of simplified spatial cues that appeal to auditory spatial perception. It reports a series of successful implementations of nested and multiple spatial audio fields to provide listeners with opportunities to explore complex sound fields, to receives cues pertaining to source behaviors within complex audio environments. This included systems designed as public sculptures capable of presenting engaging sound fields for ambulant listeners. The paper also considers questions of sound field perception and reception in relation to audio object scaling according to the dimensions of a sound reproduction system and proposes that a series of multiple, coordinated sound fields may provide better solutions to large auditorial surround sound than traditional reproduction fields which surround the audience. Particular attention is paid to the experiences since 2008 with the multi-spatial The Morning Line sound system, which has been exhibited as a public sculpture in a number of European cities.
    • Inside-outside: 3-D music through tissue conduction

      McKenzie, Ian; Lennox, Peter; Wiggins, Bruce; University of Derby (24/03/2015)
      Eliciting an auditory perception by means of mechanical transduction bypassing the peripheral hearing apparatus has been recorded as early as the 16th century. Excluding its audiometric use to assess ear pathology, bone and soft tissue conduction has received very little interest until the last two decades. Previous work during this time (Stanley and Walker 2006, MacDonald and Letowski 2006) has indicated robust lateralization is feasible via mechanical transduction. We have extended this, adding the front-back and up-down axes.
    • Showman of the screen: Joseph E. Levine and his revolutions in film promotion.

      McKenna, Anthony Thomas; University of Derby (University Press of Kentucky, 23/09/2016)
      Joseph E. Levine was one of the most recognisable figures in post-War American cinema; he pioneered saturation opening techniques, revolutionised art-film marketing, and was hugely successful as a producer. He dealt in every conceivable type of film, from arthouse to exploitation to blockbusters, and became the famous film promoter in America. Showman of the Screen is the first book to fully investigate Levine's life and work, detailing his life and extraordinary career in the film industry, and focussing on what he called his "peculiar talent" for movie exploitation and showmanship. Based on extensive archival research and interviews with many of Levine's collaborators, this book positions Levine as the most versatile film promoter, and self-promoter, of his generation. Showman of the Screen details Levine's tough upbringing in the slums of Boston, and his subsequent journey from being provincial movie exhibitor to becoming the best-known movie showman in America. The book also shows how Levine was able to capitalise on emerging cultural trends, whilst also maintaining his reputation as a maverick by fiercely guarding his independence and deliberately provoking condemnations from cultural commentators. This book acts as a corrective to the many histories of post-War American cinema that either ignore or underestimate Levine's achievements and influence. His multifarious appetites ensured that his presence was felt in all genres, and that is influence is still with us today is testament to his position as one of the most important pioneering figures in America post-War cinema.
    • 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.
    • Between excess and subtraction: Scenographic violence in Howard Barker’s Found in the Ground

      Kipp, Lara Maleen; University of Derby (Centre de recherche VALE, 23/06/2017)
      The article examines the violence produced by the scenography of Howard Barker's Found in the Ground, which emerges out of the play’s formal experimentation. Thematically, the play is rife with violence, such as former Nuremberg judge Toonelhuis’ consumption of the remains of high-ranking Nazis he sentenced to death, the continuous burning of books and the retelling of various murders by the war criminal Knox. Found in the Ground re-visions the collective European memory of the Holocaust; this thematic violence is expanded and subverted by scenographic means, radically reimagining the historical context. The particularity of the spatio-temporal, audio-visual rendering of violence in Barker’s text is the focus of this article. The article relates the play to Artaud’s conception of cruelty and to Lyotard’s thinking on the sublime. It contextualises the play through Barker’s theoretical writings, Lingis’ notion of catastrophic time (2000) and Aronson’s proposition of the stage as an abyss (2005).
    • Destroying creativity

      Lennox, Peter; Wilson, Chris; Brown, Michael; University of Derby (23/06/2016)
    • 'I Speak about Myself to You' – Renegotiating the Voice of Documentary through Animation Aesthetics

      Bosward, Marc; Bevan, Greg; University of Derby; University of Salford (The Higher Education Academy, 23/06/2011)
      Documentary practice has long been encumbered with journalistic and pseudo-scientific expectations; the gathering of evidence, the balancing of material and the objective presentation of accurate and informative data. Overwhelmingly, documentary audiences are encouraged to believe in an objective reality and, by extension, to anticipate fidelity to it. Filmmakers' aesthetic choices are selected and organised to persuade the viewer that the resulting voice of the documentary is an honest, rational and sensible point of view. This paper will explore the documentary filmmaker's detachment from an obligation to deliver objective truth by applying the visual, aural and temporal distortions of animation to interrogate conventional notions of knowledge, reliability and authority. By taking a collaborative approach to the research project, the paper will explore the inherent transformative, non-representational and illusory nature of animation in relation to the construction of authorial voice for documentary. Drawing on the theory and practice of filmmakers Aleksandr Sokurov and Alexander Kluge, the paper will assess to what extent truth can be derived from expressionistic aesthetic components as readily as they can from the narration of factual information and photographic reality; can animation in documentary assimilate fiction into fact and synthesise truth and fantasy? Further, the paper will argue that the didactic voice of traditional, expository documentary encourages passive observation while animation can provoke a more poetic interpretation of the films' diegesis; how can the authenticity of documentary material be legitimised by foregrounding authorial mediation rather than attempting to camouflage subjectivity? The introduction of animation aesthetics into documentary realism offers the filmmaker a wider choice of expressive tools to define, extend and affirm their own personal voice. This paper will offer a practical assessment of these issues, offering new approaches for filmmakers to explore the epistemological resonance of their craft, and to extend the formal and thematic parameters that determine documentary's status as nonfiction testimony.
    • Applied theatre solo performance: “Acting Alone” – artist led research exploring boundaries of performer / audience relationships

      Hunt, Ava; University of Derby (23/04/2016)
      Acting Alone is a solo performance based on seven years of artistic and creative research into the theatrical conventions used within Applied Theatre practice. Hunt’s solo performance research challenges the theatrical form, raises questions and provokes debate through the use of immersive conventions. Acting Alone toured extensively throughout the UK at festivals, theatre venues, in schools and colleges. The piece performed to a wide range of self-selecting audiences – age, class, religion, gender and cultural identity. Verbatim experiences of ordinary Palestinian people where told against documentary accounts of historical and autobiographical stories woven together to provide counter arguments against racist discourse. This applied theatre practice challenged the theatrical boundaries of performer/audience relationships through subtle moments of participation finishing with an invitation to make a difference.
    • Hearing Without Ears

      McKenzie, Ian; Lennox, Peter; Wiggins, Bruce; University of Derby (Georgia Institute of Technology, 22/06/2014)
      We report on on-going work investigating the feasibility of using tissue conduction to evince auditory spatial perception. Early results indicate that it is possible to coherently control externalization, range, directionality (including elevation), movement and some sense of spaciousness without presenting acoustic signals to the outer ear. Signal control techniques so far have utilised discrete signal feeds, stereo and 1st order ambisonic hierarchies. Some deficiencies in frontal externalization have been observed. We conclude that, whilst the putative components of the head related transfer function are absent, empirical tests indicate that coherent equivalents are perceptually utilisable. Some implications for perceptual theory and technological implementations are discussed along with potential practical applications and future lines of enquiry.