• Hand on heart

      McNaney, Nicky; University of Derby (29/09/2017)
      An Illustration created for Rankin Photography Studio, to promote British Heart Foundation, “World Heart Day” An international art project with creatives from around the world, to raise awareness of the global fight against heart disease through the use of social media.
    • The Hastings sound fountain

      Locke, Caroline; University of Derby; Nottingham Trent Unviersity (FACT, Liverpool, 2015-07)
      The term ‘ Performing Data’ was first used by the artist Dr Rachel Jacobs and became the title of Caroline Locke’s research residency at Nottingham University. The Performing Data Project was developed by an interdisciplinary group of HCI (Human, Computer, Interaction) researchers, artists and creative technicians based across the Mixed Reality Lab and Horizon Digital Economy Institute. The Hastings Sound Fountain was developed as part of this project and residency. Locke makes works that ‘Perform data’, revealing data to an audience in various embodied forms - sometimes slowly, sometimes live, to elicit emotions, engage the imagination, extend understanding and to inspire an audience to reflect. Caroline makes links to our natural world and finds ways to expose the beauty in nature. She is keen to find innovative ways of communicating scientific and environmental research to a public audience. The Hastings Sound Fountain at FACT was controlled by data being sent LIVE from Hastings Pier. A sensor on the end of the pier is recording the rise and fall of the sea level and the levels trigger the rise and fall in the sound frequencies being sent to the Fountain. As the sensor tracks the rise and fall of the sea, frequencies sweep through the Sound Fountain, causing ripples and waves on the water surface. A visualisation of the live data and footage of the sea beneath the sensor is projected or viewed on a monitor close to the fountain. Locke contributed to a series of workshops, talks, and events, which were scheduled to facilitate visitor understanding at FACT in Liverpool in July 2015. The Hastings Sound Fountain was exhibited as part of these events.
    • Head space and Dark days.

      McNaney, Nicky; 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.
    • 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.
    • Heart sensing sound fountain

      Locke, Caroline; The University of Derby; Nottingham Trent University (FACT, Liverpool, 2015-07)
      The term ‘ Performing Data’ was first used by the artist Dr Rachel Jacobs and became the title of Caroline Locke’s research residency at Nottingham University. The Performing Data Project was developed by an interdisciplinary group of HCI (Human, Computer, Interaction) researchers, artists and creative technicians based across the Mixed Reality Lab and Horizon Digital Economy Institute. The Heart Sensing Sound Fountain was developed as part of this project and residency. The previous work Sound Fountains, where sound is visualized through water has been developed so that audiences can engage in their own unique and sometimes very personal experience with the Sound Fountain, using their body data to make changes within an installation environment. The audience (or 2 participants) are asked to place their fingertip on top of the heart shaped sensor, to hold in place for as long as they like to see what happens to the Sound Fountains. The sensor locates the participant’s heart rate and their pulse triggers tones, which are sent to the Sound Fountains. They watch as the waves synchronize with their own beating heart. The sculpture involves live performance on many levels. An element of performance is at the end of the data flow in the water but also between the two individuals facing each other and the dialogue that occurs between them. The surrounding audience watch as the two participants become performers. Perhaps there is a feedback loop as participants attempt to slow down their heart rate or it speeds up with levels of engagement/excitement. The activity is part of a long period of original and significant research and development. Locke’s research, in its wider sense, reflects on the relationship between the spectator and the performer and the opportunities to blur their respective roles within Contemporary Art Practice. It investigates ways in which a spectator can engage more in the work through direct interaction. For example, spectators became performers and integral to the work by triggering sensors within the exhibition space, allowing their presence to orchestrate changes within the installation.
    • Here and there: two works, ten countries

      Bartram, Angela; O'Neill, Mary; University of Lincoln (2015-09)
      A paper was delivered remotely at The Body: Out of Time and Without a Place conference at Contemporary Art Centre, Vilnius, via two performing 'bodies'. The 'script' for these bodies was exhibited in the Performance Ephemera exhibition as a paper document at Practice Gallery, University of Worcester. The paper abstract for Vilnius: The presence of the performing body is central to the experience of live art. It is this distinctive quality that enables an audience to engage with an unmediated work that incorporates contingencies of site and response. In this paper we will discuss two works by Bartram O’Neill (the authors’ collaborative name) that address the myth of presence through an interrogation of ‘liveness’ and what it constitutes in art practice when reliant on technological means. In 2013 Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami (USA). This was performed remotely, from the U.K. through two ‘bodies’ in Miami. Unlike the theatrical tradition of script, rehearsal, interpretation etc. this work required these ‘bodies’ to act as channels and ‘puppets’ for the performers in the UK. Using text messaging and Skype, the UK based ‘performers’ and authors of the work communicated to the audience in Miami through their Miami based translators. Meanwhile the UK authors listened to the performance through a telephone connection with an audience member, and thereby being both performers and audience of their work. Bartram O’Neill participated in “O/R” in the streamed Low Lives 4 Networked Performance Festival. From an empty gallery in Nottingham, UK, the pair performed at 2am GMT to an open laptop on the floor, reaching audiences in the USA, Japan, Trinidad & Tobago, Australia, France, Colombia, Norway, and Aruba, between 8- 9pm the calendar day before, depending on location. These works incorporated not just distance, but also time difference - in the former the performers were in a living room surrounded by their diurnal domestic trappings and in the latter they performed in the middle of the night having walked through deserted streets to occupy a gallery devoid of life. 'Both works distanced the body of the performer, who was in fact ‘present’. This explores the possibilities, complexities and contingencies of this dynamic seeking to analyse what it is to be presented as ‘live’ when geographically distant.
    • Here and there: two works, ten countries (displaced)

      Bartram, Angela; O'Neill, Mary; University of Lincoln (2015-09)
      Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami and "Here and There: Two Works, Ten Countries" for The Body: Out of Time and Without a Place (Vilnius).This was performed remotely, from the U.K. through two ‘bodies’ in Miami acting as channels and ‘puppets’ for the performers in the UK. The work distances the performers bodies, despite their being ‘present’ as audience through Skype and mobile phone. It explores the possibilities, complexities and contingencies of this dynamic seeking to analyse what it is to be presented as ‘live’ when geographically distant. The paper displaced the authors: one was in her living room whilst the other was at the conference, yet only one spoke. The text in Irish was delivered from the 'script' by the author in her home, whilst the other gave her role to a conference delegate at the start of the session. A role he had no idea he would take prior to walking in the room and meeting her invite. The author present at the conference documented the event from the back. Both authors answered questions afterwards.
    • Here and There: two works, ten countries.

      Bartram, Angela; O'Neill, Mary; University of Lincoln (22/05/2015)
      The presence of the performing body is central to the experience of live art. It is this distinctive quality that enables an audience to engage with an unmediated work that incorporates contingencies of site and response. In this paper we will discuss two works by Bartram O’Neill (the authors’ collaborative name) that address the myth of presence through an interrogation of ‘liveness’ and what it constitutes in art practice when reliant on technological means. In 2013 Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami (USA). This was performed remotely, from the U.K. through two ‘bodies’ in Miami. Unlike the theatrical tradition of script, rehearsal, interpretation etc. this work required these ‘bodies’ to act as channels and ‘puppets’ for the performers in the UK. Using text messaging and Skype, the UK based ‘performers’ and authors of the work communicated to the audience in Miami through their Miami based translators. Meanwhile the UK authors listened to the performance through a telephone connection with an audience member, and thereby being both performers and audience of their work. Bartram O’Neill participated in “O/R” in the streamed Low Lives 4 Networked Performance Festival. From an empty gallery in Nottingham, UK, the pair performed at 2am GMT to an open laptop on the floor, reaching audiences in the USA, Japan, Trinidad & Tobago, Australia, France, Colombia, Norway, and Aruba, between 8- 9pm the calendar day before, depending on location. These works incorporated not just distance, but also time difference - in the former the performers were in a living room surrounded by their diurnal domestic trappings and in the latter they performed in the middle of the night having walked through deserted streets to occupy a gallery devoid of life. Both works distanced the body of the performer, who was in fact ‘present’. This paper explores the possibilities, complexities and contingencies of this dynamic seeking to analyse what it is to be presented as ‘live’ when geographically distant.
    • Here and there: two works, ten countries.

      Bartram, Angela; O'Neill, Mary; University of Lincoln (Vilnius Academy of Arts, 2016)
      The presence of the performing body is central to the experience of live art. It is this distinctive quality that enables an audience to engage with an unmediated work that incorporates contingencies of site and response. Here we will discuss two works by Bartram O’Neill (the authors’ collaborative name) that address the myth of presence through an interrogation of ‘liveness’ and what it constitutes in art practice when reliant on technological means. This specifically relates to the performance using remote and scripted bodies at The Body: Out of Time and Without a Place conference in Vilnius 2016. In 2013 Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami (USA). This was performed remotely, from the U.K. through two ‘bodies’ in Miami. Unlike the theatrical tradition of script, rehearsal, interpretation etc. this work required these ‘bodies’ to act as channels and ‘puppets’ for the performers in the UK. Using text messaging and Skype, the UK based ‘performers’ and authors of the work communicated to the audience in Miami through their Miami based translators. Meanwhile the UK authors listened to the performance through a telephone connection with an audience member, and thereby being both performers and audience of their work. Bartram O’Neill participated in “O/R” in the streamed Low Lives 4 Networked Performance Festival. From an empty gallery in Nottingham, UK, the pair performed at 2am GMT to an open laptop on the floor, reaching audiences in the USA, Japan, Trinidad & Tobago, Australia, France, Colombia, Norway, and Aruba, between 8- 9pm the calendar day before, depending on location. These works incorporated not just distance, but also time difference - in the former the performers were in a living room surrounded by their diurnal domestic trappings and in the latter they performed in the middle of the night having walked through deserted streets to occupy a gallery devoid of life. 'Both works distanced the body of the performer, who was in fact ‘present’. This text offers the script for the performance, which opened up and explored the possibilities, complexities and contingencies of the dynamic of present and absent bodies and artistic agencies, thus seeking to analyse what it is to be presented as ‘live’ when geographically distant.
    • Higher Education Academy Fellowship

      Lennox, Peter; University of Derby (2014)
      Having a lifelong interest in knowledge and learning, I view the claims and practices of education and higher education practices with active and interested skepticism, which comes out of a profound optimism – that what we have now is not the best we could have. Higher education should always be in the best interests of the individual being educated, tempered by the interests of society at large; above all, education should do no harm. It seems to me that this “bottom up” approach, whereby improving the thinking abilities of individuals improves the behavior of whole societies is the primary reason for the expensive activity of education. Economic research indicates correlations between education and state prosperity (Berger and Fisher 2013) though benefits of increased productivity may not necessarily be equally distributed. Furthermore, the causal mechanisms at play are not finely elucidated.
    • A history

      Shore, Tim; Jennings, Humphrey; University of Derby (2015)
      'A history' is an artists’ book (edition of 10) made from Corrugated card, tissue paper, newsprint, letterpress, binding screw and string. The book presents repetitions of the phrase “1. the factory, 2. the school, 3. the workhouse, 4. the prison” taken from a note by Humphrey Jennings in his anthology ‘Pandaemonium: The Coming of the Machine As Seen by Contemporary Observers (1660-1886)’. Jennings comments on ‘The History of Derby’ (1817) in which W. Hutton recounts his experiences as a child apprentice at the Derby Silk Mill c.1730: “The abstract horror of the image derives in part from the unspoken acknowledgement of the truth as far as 18th century poor were concerned: 1. the factory, 2. the school, 3. the workhouse, 4. the prison, were all the same building.”
    • Holding Their Own: How Line of Duty offers the BBC a competitive edge in an increasingly crowded mediascape

      McMahon, Daithí; University of Derby (2021-10-01)
      The British Broadcasting Corporation’s (BBC) hit television series Line of Duty (2012-present) is the envy of every UK broadcaster and international streaming service alike, attracting enormous audiences and near universal critical acclaim. A number of factors have contributed to the success of BBC television dramas and have helped the organisation garner large audiences and thus remain relevant to a modern audience bombarded by numerous viewing platforms, countless titles and ever-present distractions and competition from social media and podcasting. Whereas commercial television networks are motivated to commodify audiences up to, and sometimes beyond saturation, PSBs can take a more artistically focused approach that serves to benefit the programme and audience first which leads to a better product. Another key factor is the social aspect afforded by synchronous TV viewing by the audience and the ‘second screening’ that goes with this live practice (Doughty, 2012; Proulx, 2012). This allows audiences to interact online before, during and after live broadcasts thus connect viewers and create online virtual communities (Rheingold, 2000). This communal experience can have a social bonding (Putnam, 2000) effect and help build a loyal following week after week – a lost tradition in an age of series dumps and binge watching. The author argues that in the modern highly competitive mediascape the BBC must take note of the factors that have contributed to their past and recent successes and work to replicate these in their future programming strategies. The BBC must also go one step further however, and attract the younger generations of viewers who represent the future Television License Fee payers. Through textual analysis of successful television programmes including Lost (2000-2006), The Office (2005-2006), Bodyguard (2018) and Line of Duty (2012-present), among others, this paper draws on examples of historical successes to chart a path for the future of BBC Television drama programming.
    • A holistic approach to the decolonisation of modules in sustainable interior design

      Di Monte-Milner, Giovanna; University of Johannesburg (Design Education Forum of Southern Africa, 2017-09)
      This paper stems from the need to develop and deliver a new module in sustainable interior design (BASD6B2) at a 2nd year level within a new Degree programme at the University of Johannesburg, in 2017. This module’s development however relies on a reflection on another sustainable interior design module (BASD6B1) in the curriculum, offered at a 1st year level. The paper also secondly arises from the national call for the transformation and decolonisation of education programmes in South African tertiary institutions. This new BASD6B2 module thus needs to demonstrate a deeper connection with African roots, rather than make use of over-emphasised Eurocentric ideals. Like the global Ubuntu education approach, decolonisation requires an advancement of indigenous knowledge, expertise, teaching and learning. Thirdly, there is also a need for interior design education, worldwide, to align itself with changing notions of sustainability, which requires educators to embrace a new, emerging ecological paradigm. In this paradigm, regenerative thinking seeks to push sustainable design from merely sustaining the health of a system, towards more holistic, systems thinking, reconnecting us to place and the rituals of place (Reed 2007, p. 677). A reflection on both the sustainable interior design modules’ designs reveals several gaps. Firstly, there is no specific requirement that the emerging ecological paradigm, and the notion of regenerative thinking, be taught within the module. Secondly, one of the module outcomes requires that students be taught about sustainability through the use of a rating tool, the Green Star SA (GSSA) Interiors Rating Tool, which, while valuable, is too mechanistic and does not support holistic thinking. Thirdly, another gap is that the Green Building Council of South Africa’s (GBCSA) Green Star SA – Interiors v1 Technical Manual includes little to no reference of African studies, methods and skills in the technical manual. This issue is revealed in my ongoing PhD study, which uses a constructivist grounded theory approach. Fourthly, the tool is based on an Australian tool which is, in turn, based on an American tool, and it thus deploys western constructs. The aim of this paper is thus to develop a teaching strategy that can complement the design of both modules, with a focus however on the new module BASD6B2, in order to teach students about sustainability more holistically, while celebrating and advancing African building methods and skills. The main findings reveal that the sustainable interior design modules (based on the given outcomes) do not support a holistic and decolonised approach to teaching and learning. A holistic teaching strategy is thus necessary to promote an African identity. The paper concludes that this pro-active teaching strategy can augment the sustainable interior design modules. Firstly both modules can include a holistic introductory lesson. A second tactic in the strategy could be to include diverse curriculum content and regenerative design concepts into the BASD6B2 module. This strategy generally aims to advance students’ mindsets about sustainable design, while encouraging them to be co-creators of local knowledge, while designing sustainably, for an African identity.
    • Homemaker

      McNaney, Nicky; University of Derby (Surface Gallery, 2016-01)
      The postcard was exhibited at the The International Postcard Show,Surface Gallery, Nottingham.The postcard exhibition featured hundreds of original artworks in a wide range of media by established artists, from all over the world. The postcard was created using traditional drawing and screen-printed media based around an old mid -century cupboard and its contents.
    • Homestead

      McNaney, Nicky; University of Derby (Highlights, 2016)
      The artist book was exhibited at the Contemporary Artists’ PAGES, Book Fair, The Tetley, Leeds & in a touring exhibition of paper-cut and artist’s books in Cumbria and Northumbria. The book was published in conjunction with an artist book project created for the third year illustration student cohort and was used as an example for learning and teaching.
    • How to develop creative capacity for the fourth industrial revolution: Creativity and employability in higher education

      Wilson, Chris; Lennox, Peter; Brown, Michael; Hughes, Gareth; University of Derby (Knowledge, Innovation & Enterprise, 15/10/2017)
      With changing patterns of accountability in higher education, universities are becoming increasingly focused on performing well against a growing number of metrics. Many used as proxy measures to indicate value of educational experience, amongst the most common and perhaps most notable are those relating to graduate career destinations. Universities have never been more focused on ensuring that graduates are ‘employable’. In the midst of the fourth industrial revolution, numerous studies highlight the potential significance and value of creativity, problem-solving and critical thinking, for successful navigation of the complexities of the future. Consequently, these capacities are becoming more significant in determining graduate career development and educational strategy in higher education. This chapter presents a synthesis of related fields of research to construct an outline framework for the development of organizational creativity and creative graduates concluding that there are aspects of current pedagogical practice capable of worthwhile reform.
    • Human rights, participatory theatre and regional publics: Acting Alone and A Story to Tell

      Hunt, Ava; University of Derby (29/04/2017)
      This paper explores how artists are continuing to develop new participatory theatre models that address social and political issues within a human rights arena. Using my productions, Acting Alone and A Story to Tell, as its primary case studies, the paper will examine how efficacy can be created with different community audiences by experimenting with forms of participatory, autobiographical and verbatim theatre. Acting Alone is a monologue performance about Palastinian refugee camps from the perspective of a mother and artist, and A Story to Tell is a verbatim first-hand account of refugees in Greece. Informed by current refugee theatre, theory and practice, this paper asks how artists might use performance to engage audiences in revolutionary thinking in relation to immigration, refugees and human rights issues. Boal’s premise that theatre is a weapon for revolution will be drawn on; however, when audiences may not be directly positioned as oppressed or oppressor, what other concerns are raised? If refugee stories are presented without political advocacy, they run the risk of reenforcing images of refugees as victims and the spectator as voyeur or by-stander. How might we appropriate Boal's work to contemporary western theatre practice to promote engagement with complex international issues and awareness of our shared responsibility towards human rights - in spite of cultural and geographical distance from the issues presented? What action can be taken? Graffiti on the streets of Athens last summer declared: ‘Our grandparents were refugees. Our parents were migrants. We have become racists’ (unknown 2016). How can theatre be a revolutionary voice to address these global and national questions?
    • Hunt, A. (2015) Acting Alone: Performance and the Political. Presented and performed at Performance, Politics, Protest, UCC, 4 September..

      Hunt, Ava; University of Derby (2015)
      Acting Alone is an artistic research project that has resulted in creating a solo performance funded by Arts Council England and University of Derby. This performance piece builds on five years of practice as research and unique enquiry using Applied Theatre techniques based on Hunt’s experiences in Palestine. The focus of this research will be to extend and develop the interaction between performer and audience extending the boundaries of performance as a political act of protest. Acting Alone invites the audience to interact: to cross the dramaturgical divide that explores political action and provokes questions around what is our responsibility to conflict as an international community? The structure places the audience in a powerful participatory position without confronting or exposing them. Acting Alone has performed at five showcase venues throughout the East Midlands receiving positive responses from audiences and also some controversial protestations. For some audiences, the piece was verging on being anti-Semitic. Heckling as well as heated challenges was experienced. However, Acting Alone presents a wide range of characters – Israeli, Palestinian and European all of whom offer powerful counter narratives. There is a rich musical soundtrack only—this is theatre stripped back, to draw the audience into a world that has to be created in its entirety in front of their eyes. The play is a personal story, at times heart-breaking and at times funny, that asks questions of theatre makers and audiences –what risks should we take? Can one person make a difference?
    • '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.
    • Igniting imagination through darkness: discovering fear and fantasy through shadows, silence and the invisible.

      Slabbert, Barend; Jordaan, June; Cape Peninsula University of Technology (Inter-Disciplinary Press, 2016)
      Darkness invites imagination. On the one hand, it creates intimacy. It has been observed by many artforms that we feel the need to close off our vision during intense emotional experiences, during dreaming, listening to music, or caressing our loved ones. Shadows can be seen to do this for us, as they dim vision and entice unconscious peripheral vision and tactile fantasy. On the other hand, darkness entices fear. A person, who is afraid of the dark, writes Finnish architect Palasmaa, has no factual reason to fear darkness as such; he is afraid of his own imagination. Darkness, or the lack of light, is also often accompanied by silence and has the ominous ability to render the visible invisible. To probe the experience of darkness, this paper will refer to the philosophical position of phenomenology. In this regard, darkness is seen as a phenomenon that is experienced through our bodily senses. The phenomenology of darkness will be investigated be making reference to the way we project ourselves onto architectural spaces, also known as ‘mimesis of the body’. Furthermore, it will be investigated how our perceptions, memories and imaginings of past experiences influence such projections. This paper hopes to show how the relation between imagination, our mental faculty that forms images of external concepts not present to the senses, and darkness, can be understood by interpreting spatial narratives of architectural interiors. A selection of evocative interiors will be interpreted in terms of three factors that contribute to the phenomenology of darkness: shadows, silence, and the invisible. By doing so, this paper hopes to indicate how darkness has strong existential expressions that can be incorporated into spatial narratives in architectural interiors.