• PaintingDigitalPhotography: Synthesis and difference in the age of media equivalence

      Hilliard, John; Honlold, Astrid; Robinson, Carl; Rosenstein, Tatiana; Rushton, Stephanie; Simson, Henrietta; Speidel, Klaus; Walker, Jame Faure; Weir, Catherine M; Wooldridge, Duncan; et al. (Cambridge Scholars Publishing, 01/09/2018)
      We live in a digital age where the mediums of art are inextricably bound to the binary code, and painting and photography are redefined in their interconnected relationship through digital reconfiguration. As digitisation unmoors these mediums from their traditional supports, their modes of production, display and dissemination shift. These changes bring about new ways of creating, and engaging with, artworks. Through this, the innate qualities of the mediums, previously anchored in their analogue nature, are re-evaluated through their connection with “the digital”. Born out of the PaintingDigitalPhotography conference, held at QUAD Derby, UK, in May 2017, this anthology of essays investigates aspects of interconnectivity between painting, digital and photography in contemporary art practices. It contributes to critical discourses around networks of associations by examining where syntheses occur, and differences remain, between these mediums at the beginning of the twenty first century.
    • Participatory arts: Mothers make art to heal minor mental health trauma.

      Watts, Lisa; University of Derby (Mental Health Network, 03/11/2017)
      The course was for twelve weeks, three hours a week, and we had a crèche for the Mothers’ children. The group of women were recruited from playgroups and attended the course wishing to question their experience of birth, parenting and fertility through art. The group was not a co-facilitation group as such, but instead over the duration of the course they brought their skills and knowledge to their individual art practice. Whilst I facilitated the group I was simultaneously in another themed group therapy, as a participant, with an art therapist for women that had experienced minor trauma in the birth or early months of their child.
    • Pecking Order

      Lennox, Peter; University of Derby (TES Global Ltd, 2010-02)
      Peter Lennox keeps chickens, and they have taught him a great deal about behaviour, ethics, evolution and the psychopathic nature of modern 'efficiency' More Info: Light-hearted article in Times Higher Education. Co-authored with Edie, Dolly, Gertie and Flo
    • People in my world.

      Levesley, Richard; University of Derby (Oriel Davies Gallery, 2016-02)
      Digital image making print on characterisation. Limited edition Screen printed publication on the theme of weather A peer selected exhibition by Alex boyd Jones Curator, Director of Oriel gallery Amanda Farr and Chris Glynn Senior lecturer, Cardiff Metropolitan University.
    • A perceptual approach to the composition of meaning in artificial spatial audio

      Lennox, Peter; Myatt, Tony; University of Derby; University of York (Audio Engineering Society, 01/03/2007)
      This paper describes research to inform the production of spatial audio that consolidates knowledge from several disparate fields. A perceptual model is proposed, based on contemporary perception theories, as the basis for new approaches to audio spatial understanding and a new approach to the generation of artificial sound fields. A fine-grain, modular model of perception is suggested that will allow audio attributes to have perceptual significance with respect to their causal trajectories. This represents an evolution towards the construction of believable sound fields from the traditional geometric, direction based approach to sound spatialisation.
    • 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.
    • Perspectives on musical time and human/machine agency in the development of performance systems for live electronic music.

      Vandemast-Bell, Paul; Ferguson, John; University of Derby; Griffith University (08/09/2017)
      This paper investigates the exploration of musical time in Live Electronic Music and discusses the authors’ novel, technological systems that embrace experimental processes and discovery. Prevalent theories of creativity are investigated, as well as tools and techniques that can be utilised to provoke unanticipated, but satisfying outcomes. The exploratory use of digital tools and chance operations is considered alongside more determinate predictable processes. While musical metre in commercial music production often revolves around metronomic timing, and the industry-standard quantization grid can often steer producers towards chronometric precision, this is at odds with expressive human timing. By standardizing the way in which we perceive musical time, much commercial software fails to recognise the full worth of musical metre and misses opportunities to explore alternative modes of rhythm and groove. However, some software does include a capacity to move beyond quantization grid restrictions and delve into an exciting world of complex timing, and graphical programing/generative music can also offer exciting possibilities. This paper reflects on a number of practical experiments and new works that foreground rhythmical complexity. Some familiar historical examples are also contextualised alongside relevant contemporary artists. The authors foreground their own practices; Ferguson draws from recent work including ‘Drum Thing’, which celebrates the automation of percussion objects using computer-controlled solenoids, with software written in Pure data this project explores various approaches to randomisation with an Euclidean rhythm generator, where the greatest common divisor of two numbers is used rhythmically to drive beats and silences. Ferguson also discusses his work with ‘Circles’, where semi-random/quasi-intelligent sequencing and the creative negotiation of imagined agency is the main agenda. Vandemast-Bell’s work draws on contemporary Techno music in which he explores techniques not unlike those pioneered by Steve Reich and later developed by Brian Eno in their experiments with phase. He uses original electronic source material that is presented then deconstructed and improvisationally reimagined in real-time, to create synchronous / asynchronous rhythms and textures. Dynamic audio looping plays a central role in his performances and is invoked through Native Kontrol’s MIDI Remote Scripts for Ableton Live that extends Live’s looping potential. He uses a custom Ableton Push controller mapping to interact with the electronic material, which is evolved through the use of audio effects and dynamic processors. The overall agenda is to elucidate the role of human/technological agency. The authors reflect upon and compare/contrast their individual practices, from initial concept through creative process to final realization. Further to these individual perspectives, they collaboratively develop and discuss new musical materials and algorithmic processes using Pure data, these patches will be published with the paper, the overall goal being to encapsulate their collaborative perspective on the generation of complex rhythmical material in Live Electronic Music.
    • Perspectives on musical time in the development of performance systems for live electronic music.

      Vandemast-Bell, Paul; Ferguson, John; University of Derby; Griffith University (Routledge, 12/07/2019)
    • The philosophy of perception and stupidity

      Lennox, Peter; University of Derby (10/07/2015)
      Of all the strange phenomena in the so-far-known universe: exotic particles, black holes, dark energy/matter, 9-dimensional strings, none is stranger, more implausible or mysterious than the one right under our nose: perception. Perception does not simply consist of processing recentlyreceived sense data—that’s the smallest part of it. Perception fundamentally attempts the impossible: to try to reduce our situational ignorance to manageable proportions, to know the future. More, it is aimed at choosing the right future— the one that still has the perceiving organism in it. Repeat, ad infinitum until ultimately, it ends in failure. Ignorance is simply: not knowing, and is something we are all faced with every day. Stupidity lies in not knowing what it is that we don’t know, behaving as though we do know. A special kind of stupidity consists in hiding the extent of our own stupidity from ourselves. A criminal kind of stupidity consists of imposing our stupidity on others. The story of the evolution of intelligence is also the story of the rise of increasingly complex forms of stupidity. Academic study is the process of traveling to the frontiers of known territory to reach the edge of the land of ignorance, where we are all idiots. Research is simply an extension of the principle of perception, the impossible attempt at stupidity reduction. Stupidity is a fundamental feature of organic life, a driving force that underpins all development. Many study perception but few systematically study stupidity. Yet.
    • Place Setting: an art installation (comprising 22 China cups, 22 Tesco Toilet Tissue cardboard cores, some IKEA cardboard packaging) for the group exhibition ‘The Most Beautiful Things Cannot Be Seen’

      Shore, Tim; University of Derby (2014-02)
      Taking the work of William Morris as its starting point my work for The Most Beautiful Things Cannot Be Seen explores the relationship between beauty, nature and imagination. Place Setting is made up of 22 china tea and coffee cups turned upside down, to create a fairy ring of china ‘mushrooms’ on the gallery floor. The cheap, mass-produced, mostly transfer printed, china challenges William Morris’s romance of craft and production and his command ‘‘to have nothing in your houses that you do not know to be useful, or believe to be beautiful”. Place Setting exploits the transformative power of the ‘ready-made’ or found object. The act of making a tea cup resemble a mushroom, by turning it upside down, responds to the natural world and the flora and fauna that the Arts and Crafts Movement referenced in their work. In arranging the cups in the form of a fairy ring, the work makes a connection between the idealism of Morris and the location of Thornton. It is a place setting rich in folklore and myth making from Brontë shrines, Cottingley with its dubious photographic fairies, to nearby Keighley, once the centre of British theosophy and spiritualism.
    • Plato's Ambisonic Garden

      Lennox, Peter; University of Derby (11/12/2007)
      Discussion of the ontological status of items and relationships in extended artificial auditory environments; an explorable musical garden
    • Portraits from green fingered.

      Marmalade, Gemma; University of Derby (Photoworks North Ltd., 2015)
    • Printing Animation: a conference paper delivered for the Creative Animation Knowledge Exchange (CAKE), Edge Hill University

      Shore, Tim; University of Derby (2014-07)
      A critical practice proposal that examines how animation can be reclaimed from the ephemeral and digital and returned to a tangible and material visibility. The proposal takes its cue from Disney’s partnership with Xerox and photomechanical printing processes in the late 1950s when in response to the complexity of the animation design for feature animation ‘101 Dalmations’ (1961), Ub Iwerks simplified the ink and paint process by copying the animator’s paper drawing directly onto acetate cell and removing the intermediary inking process. My research methodology involves a reengagement with a mechanical, machine and tool based craft process (screen printing, monoprinting, photocopying and typewriting) not to imbue the discipline in a romantic quasi-medievalism, nor to propose further economies in the industrial production pipeline, but instead to reintroduce notions of serendipity, chance, wrongness, interruption, iteration and materiality. Printing is a rich repository for metaphor: duplication, doubling, remaking, copying, contact. These characteristics allow animation to explore, inhabit and exploit the liminal space between digital production and analogue mechanical processes. This approach also suggests how classical animation production and print processes may be repurposed to create a new hybrid tangible animated state that is visible, material, spatial and plastic - existing outside the conventional notions of animated time.
    • Puff of smoke: Curator's symposium.

      Watts, Lisa; University of Derby (The Tetley, 02/05/2014)
      This day-long workshop and symposium at The Tetley is geared at curators, producers and programmers who already work with performance practices in a gallery context or intend to. It will be an opportunity to shape debate and to create new networks and communities of practice. The day will begin with a case study of Lisa Watts' touring research project Skittish (2013 -2014) presented by artist and writer Joanne Lee (Senior Lecturer in Fine Art at NottinghamTrent University). The research and dialogue for this case study has prompted a series of provocations which will initiate the day's discussions, which will be led by four artist/performers; Jordan McKenzie (artist of performance/ film/ site specific art); Ralph Dartford (ACE officer, writer, performance poet); Victoria Gray (artist of performance/ video) and Sarah Spanton (artist, performer, facilitator and arts consultant). Intended to be a richly conversational session, participants will be encouraged to share and discuss their own experience of and questions about curating live works in a gallery context.
    • Rabbit Chain and Run Rabbit Run

      McNaney, Nicky; University of Derby (Oriel Davies Gallery, 2016-10)
      Rabbit Chain and Run Rabbit Run” (Two Screen-prints) exhibited in the Imaginary worlds exhibition. Imaginary Worlds was an exhibition of artworks by 52 illustration and book artists from Wales, other parts of the UK, Europe and Australia.
    • Rabbit Chain and Run Rabbit Run 1

      McNaney, Nicky; University of Derby (2015-02)
      This work is one of a number of responses that have been inspired by and made about the village that I live in. The village has one remaining farm within the curtilage of the built environment and the villager’s occupations have drastically changed over the years. There was 480 acres under cultivation at the time of the Domesday Book and at one time there was thirty working farms recorded in the village. My images focus on the environment, the evolution of the land without the control of the farming community, and the consequences this has on nature & rural living. Exhibited at University of Derby, Nature Connections exhibition and Art via post exhibition at Arts at the Armory in Somerville, MA. USA
    • Radio 2.0: How Facebook is enhancing audience participation for Irish radio audiences.

      McMahon, Daithi; University of Limerick (Academic Conferences and Publishing International, 2014-07)
      As a traditional mass medium radio is proving its flexibility and resilience in an ever more digitalised mediascape by increasing its presence on one of the fastest growing digital platforms, Facebook. With the radio industry in Ireland as a case study, this project examines the use of Facebook by radio producers and their audiences as a medium for deeper interaction and explores the functions this contact serves for the audience member, for the radio producer, and for society as a whole. Based on recent findings, this doctoral research argues that radio producers are increasingly engaging with their audiences through Facebook for commercial reasons, in an effort to build audience loyalty and grow their audience share in a highly competitive industry. Radio audiences are following their favourite radio programmes on Facebook in growing numbers seeking an enhanced media experience and opportunities to exercise their agency as active audiences and participate in the on-air and online conversations. Furthermore, the evidence suggests that public spheres and virtual communities are created on radio station Facebook pages and that some users build social capital between one another through extended interaction. The convergence of radio with Facebook is thus allowing an old medium to remain competitive at a time when digital media is threatening the traditional mass media.The methodology involves both qualitative and quantitative research methods including interviews with radio producers and audience members combined with a survey of the latter, textual analysis of radio station Facebook pages and a longitudinal content analysis of Facebook interactivity across the Irish radio industry. The project is nearing completion and therefore this paper will present the main findings that demonstrate the capacity of radio as a medium to engage with and profit from the introduction of new digital technologies, particularly Facebook.
    • 'Reality fragments' - Found footage, video collage and non-fiction

      Bosward, Marc; University of Derby (12/06/2015)
      Paper presented to the MeCSSA and Journal of Media Practice Symposium ‘Language/Voice’, Aberystwyth University, 12 June 2015
    • Rebirth: a light and sound show. Animation projection mapped onto the windows of Strutt’s North Mill

      Shore, Tim; Bosward, Marc; Poynton, Stuart; University of Derby (2014-03)
      Rebirth is a series of looped abstracted animations, made by Poynton and Shore, with sound by Bosward, that was projected onto the windows of the first floor and basement of Strutt’s North Mill Belper as part of the celebrations to mark the museum’s Summer Opening event. The work references the elemental forces that helped shape the mill including fire, water and iron. Strutt’s North Mill was built in 1804 and is one of the oldest surviving examples of an industrialised, iron framed ‘fire proof’ building. Animation sequences were constructed using a convoluted and slow process that draws on both digital and analogue practices. In constructing a ‘slow animation’ sequence the actual animation or movement is made visible to the animator. Through an engagement with a range of machine processes (both analogue and digital) the work is able to foreground the artificial nature of animation, commenting on both animation’s craft legacy and its constructed nature.
    • Recto Verso: redefining the sketchbook.

      Bartram, Angela; El-Bizri, Nader; Gittens, Douglas; University of Lincoln (Ashgate Publishing Ltd., 2014)
      Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.