• Be your dog

      Bartram, Angela; University of Lincoln (KARST Gallery, Plymouth, 06/11/2016)
      In partnership with the Live Art Development Agency, 'Be Your Dog' is a project that aims to transcend the hierarchies of pet and owner. The project sees humans and their dogs aim to demonstrate a connection with each other based on mirrored actions that demonstrate empathy and equality. This public event is a result of workshops, and you may see pairs sitting or laying together, looking in each others eyes, or involved in small reciprocal actions. Of course this might not happen, as all are collaborators and the dogs will bring their own contribution to the work, but whatever happens you will see collaborating pairs being responsive in whatever way they deem right.
    • Be/come closer to home: Narratives of contested lands in the visual practices of Katerina Attalidou and Alexandra Handal

      Photiou, Maria; University of Derby (Taylor & Francis, 27/05/2016)
      Women from Cyprus and Palestine are citizens of divided countries and have experienced conspiracies and invasions that have confiscated their homelands. This article investigates visual practices of women artists and the ways in which they are embedded in the space of each location. It aims to reflect on artists' experiences of borders, location and narrations of homeland. It focuses on the artistic practices of Greek-Cypriot artist Katerina Attalidou and Alexandra Handal, who engage in questioning and challenging issues on homeland, borders, history, citizenship, identity and exile. This article will enquire as to how the idea of homeland 'real or imagined' is represented in visual works and will investigate how the usage of images and narratives can challenge the concept of home. Through the discussion of images this article will consider how these practices serve as a reminder of exile and develop a critical understanding of contemporary events and our reaction to them.
    • The benefits of an arts education

      Mcgravie, David; University of Derby (University of Derby, 06/12/2017)
      Latest reports suggest the creative industries are under pressure and question whether they can provide a useful education to young people. David McGravie, Head of the School of Arts at the University of Derby explains why an arts education is important and how it can benefit students
    • 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).
    • BFMAF – Border Crossing

      Davies, Huw; Iredale, Melanie; University of Derby (Arts Council England, 2014-09)
      The 10th edition of the Berwick Film and Media Arts Festival (BFMAF) ‘Border Crossing’ (September 2014) explored border identities and the crossing and transcending of global boundaries against the background of the 2014 Scottish Independence Referendum. The research contribution of Davies relates to the curation of the Artists’ Trail / Installations; a promenade exhibition of artists’ film and video contextualised by publication which links together a number of different site-specific architectural locations within the Elizabethan Ramparts. The 2014 edition featured the work of 47 artists and filmmakers from 17 different countries and included 16 UK premiers and 6 specifically commissioned works. The commissions (selected from an international call) provide the opportunity for the creation of original new works as a response to the Festival theme and environmental location. The audience attendance was 9450.
    • BFMAF – Fact or Fiction

      Davies, Huw; Taylor, Peter; University of Derby (Berwick Film & Media Arts Festival, 2015-09)
      The 11th edition of the Berwick Film and Media Arts Festival (BFMAF), ‘Fact or Fiction’ (September 2015) questioned the ambiguous relationships between fact and fantasy, documentary and narrative and reality and myth. The research contribution of Davies relates to the curation of the Artists’ Trail / Installations; a promenade exhibition of artists’ film and video contextualised by publication which links together a number of different site-specific architectural locations within the Elizabethan Ramparts. The 2015 edition featured the work of 40 artists and filmmakers from 20 different countries and included 12 UK premiers and 4 specifically commissioned works. The commissions (selected from an international call) provide the opportunity for the creation of original new works as a response to the Festival theme and environmental location. The audience attendance was 8910
    • The big picture

      Wilson, Colin; University of Derby (2014-01)
      To look at the Big Picture is an act of becoming involved, emotionally, physically and intellectually. To see the Big Picture is to see the complexity of relationships in everyday lived experience. In a world of small-minded, superficial, self-interested individuals, where images become noise, and noise becomes entertainment and distraction, where the shallowness of life coincides with the shallowness of understanding, experience and expectation. The Big Picture proposes a world of depth, a time for reflection a place for change. Alongside the Big Picture are the Big Questions
    • Black libraries

      Poynton, Stuart; University of Derby (Candlelight Records, 2015-10)
      Taken from the debut album 'The Calendrical Cycle: Eye of Earth' out now on Candlelight Records.
    • BlindSpot: a site-specific film installation at the Workhouse, Southwell (National Trust) for New Expressions 3 (New Opportunities Award)

      Shore, Tim; University of Derby (2015-07)
      The site-specific installation captures the passing of time, tracing the patterns of sunlight and shadow cast by the iron window frames of the building across the floors of the empty dormitories. The Rev. J.T. Becher, the founder of the Workhouse said that ‘An empty workhouse is a successful one’ and the film plays with nothingness and emptiness - the absence of the people the building was designed to hold - and the slow passing of light and time which recalls the lives of the inmates and people who have lived and worked at the Workhouse.
    • 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.
    • Bonfire of the inanities

      Lennox, Peter; University of Derby (30/09/2010)
      Times are hard and cuts have to be made, so let’s start by putting an end to verbosity and all those mind-bogglingly long assignments, research papers and reports,writes Peter Lennox, succinctly
    • The boy who cried wolf [Arabic edition]

      Jenkins, Saffy; Broadley, Leo; University of Derby (Harper Collins (Big Cat), 01/08/2016)
      Collins Arabic Big Cat is a guided reading series for ages 3 to 11. The series is structured with reference to the learning progression of Arabic at nursery and primary schools researched especially for Collins. This carefully graded approach allows children to build up their reading knowledge of Arabic step by step. Level 5 books are for children who are ready to read stories with more challenging word patterns or non-verbal sentences with 2 or 3 words, and with total support through illustrations and extensive use of repetition. Double spacing is used between words to ensure children see where each new word in a sentence begins and ends to ensure the focus remains on reading core words. A shepherd boy decides to play a trick on the people in his village by telling them that there is a wolf nearby. But will the villagers believe him when a wolf really does turn up? This witty retelling of the traditional story was written by Saffy Jenkins.
    • Brain activity and mental workload associated with artistic practice

      Locke, Caroline; Swann, Debra; Wilson, Max; Maior, Horia; University of Derby; Nottingham Trent University (Conference on Human Factors in Computing Systems, 09/02/2018)
      We present the first stage of our on-going artist-driven BCI collaboration, where we equipped an artist with the brain scanning technique functional Near Infrared Spectroscopy (fNIRS) in order to record mental workload levels during her creative practice. We artists are interested in exposing the hidden cognitive processes involved in our creative practice, in order to reuse or integrate the data into our performances. The computer science researchers are interested in collecting unstructured ‘in the wild’ fNIRS data, and to see how the artists interpret the data retrospectively. We highlight some interesting early examples from the data and describe our on-going plans. We will have completed a second data collection before the workshop.
    • The brick eater

      Broadley, Leo; University of Derby (2016-03)
      Illustrated 32 x Picture Book for 4-7 year olds related to issues of the current global obesity epidemic in children. The metaphor for food as a brick, with a central non-human character is the USP of this work. The text is a non-rhyming text that can be translated into world languages and avoids issues of ‘self-loathing’ in children. This simply means that works about obesity should not refer to fatness, or physical size as a measure of obesity as this can lead to identification and victimisation of individuals in class. Current medical research points to the idea that children and adults may be ‘fat on the inside’ and that no obese child in the class should be made to feel that they are identified (by peers) in relation to the story, and that actual health refers to access to balanced diet, enough sleep, physical fitness as well as good nutrition.
    • Brides and widows: Iconic dress and identity in Howard Barker’s costumes

      Kipp, Lara Maleen; University of Derby (Intellect, 01/06/2017)
      One of the strongest recurring motifs in the work of contemporary British playwright Howard Barker is women’s marital status: brides and widows abound in his work. Their status as such is often crucially configured, but also subverted through their costumes (in a Western cultural context). This paper considers the central role that brides and widows play in a variety of Barker’s dramatic texts and identifies some core working principles with regard to his use of costume. It explores the notion of the iconic garment (cf. Hannah 2014) and its influence on these characters’ identities. Drawing on aesthetic discourse, in particular that of the sublime, I analyse how Barker proposes a reconsideration of stable subject identity through these recognisable, yet ambiguous and unstable female figures.
    • A cage for the muse and the limits of invention

      Brown, Michael; Wilson, Chris; University of Derby (KIE Conference Publications, 2016)
      This paper explores the notion that creativity in the arts, particularly music, benefits from constraints. Expressive freedom is often fostered within education to encourage the pursuit of artistic individualism, but straying too far from stylistic norms can often engender incoherence. This paper does not challenge the breaking of rules that define a style nor does it denigrate the benefits that may arise from conflicting ideas and unusual combinations, but explores the virtue and benefits of boundaries and suggests that freedom, from a creative perspective, is often an illusory construct; strong creative identities are achievable through and often defined by creative constraints. Conclusions focus on the potential profits of constraints that bind expressive ideas and the function and virtue of intuition within the creative process; theorizing upon whether creative confinement, or the awareness thereof, is ultimately a liberating or inhibiting experience. We determine that artistic creative freedom as a concept may indeed be illusory, but the perception of freedom for some is a necessary ingredient in the creative act.
    • Care + attend.

      Watts, Lisa; University of Derby (Society of Artistic Research, 2015-02)
      Care + Attend comprises a constellation of fragments and extracts - of different intensities and durations - where the exposition of research emerges as poetic and performative, generating moments of potential resonance and dialogue. We explore the theme Unconditional Love through the principles (perhaps even methodologies) of care and attention, as applied within specific (artistic) practices of both the everyday and of the self. Beginning with the observation that both curate and curiosity have shared etymology in the term ‘care’, Care + Attend seeks to develop a research vocabulary based on receptivity, openness, fidelity, integrity, intimacy, friendship and commitment (whilst not ignoring the parallel principles of distraction, inattention, the act of closing one’s eyes or of looking away). Cocker and Lee have invited a range of artists & writers to share and reflect on their own processes, philosophies and politics of care and attention, and to present these through live performance, screenings and spoken word. Contributors include Kate Briggs, Daniela Cascella, Belén Cerezo, Emma Cocker, Steve Dutton + Neil Webb, Victoria Gray, Rob Flint, Mark Leahy, Joanne Lee, Martin Lewis, Sarat Maharaj, Brigid McLeer, Hester Reeve, and Lisa Watts [Society for Artistic Research website].
    • Causal contexts, cognitive cartoons and spatial sound

      Lennox, Peter; Myatt, Tony; University of Derby (Qu e e n M a r y , U n i v e r s i t y o f L o n d o n, 20/12/2006)
      Based on previous work the proposal here is that spatial perception problems in artificial environments (e.g. spatial music displays) can be cast as a subset of the problems of cognitive mapping of the causal context that surrounds and supports the perceiver. The intuitively available distinctions in these contexts of foreground and background, previously couched in terms of perceptual significance exist as externally valid causal distinctions; the task of perception is to cognitively represent these distinctions sufficiently for appropriate interaction. Effectively, this means that some items will “naturally” occupy attention, whilst others should equally naturally appeal to background, inattentive processes. Hence, aspects of the causal context will be accorded differing cognitive resources according to their significance, and some may be very sparsely represented in cartoon form. That is, perception engages in sophisticated information reduction in cognitive representation in order to capitalise on available resources. This poster outlines how causal contexts (including spatial matters) can be physically cartoonified in reciprocal manner to the dedicated perceptual mechanisms’ operations, to economically and intuitively appeal to perception.
    • Ceramic sculpture of animals and birds

      James, Jeremy; University of Derby (2016)
      This show will feature a major new body of work by Jeremy James. Included for the first time are his linocuts of wildlife alongside his much loved ceramic sculpture. His subject matter ranges from all kinds of birds to animals such as hares, otters and meerkats. Jeremy divides his time between teaching and continuing to make and show work with many galleries nationally and internationally.