• Unsatisfactory devices: legacy and the undocumentable in art.

      Bartram, Angela; University of Derby (Palgrave Macmillan, 2018)
      Regarding perception of ephemeral artwork when lost to the fractures of time Peggy Phelan states “you have to be there.” For Phelan ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? This essay interrogates the critical, sensitive and individualized distance necessary to archive transient artworks. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain is analysed in response to The Alternative Document, an exhibition I curated on the subject in 2016, and suggests archival possibilities beyond formal academic, artistic and museological conventions.
    • Unsavoury thoughts

      Levesley, Richard; University of Derby (Meraki greetings cards, 2018-01)
      Investigation into trends within the industry, exploring varied audiences for the gift market. Research of current Illustration competition, use of humour and subjects in the industry. A body of visual experimentation and process to challenge and create contemporary illustrated outcomes in the field of design. Visual research into drawing and experimentation into line quality, characterisation and developing appropriate characters for audience. Distributed nationally currently featured in UK retail outlets such as Paperchase.
    • Unsettling action and text: a collaborative experience.

      Bartram, Angela; O'Neill, Mary; University of Lincoln (Routledge, 2016)
      The original abstract for this text was written in 2009, and reflected the beginning of a collaboration informed by two individuals’ research confidences and disciplines. A work titled ‘Oral/Response’, which combined the documentation of a performance within its structure, allowed a conversation to emerge between disciplines and ways of working, of live action and its textual documentation. ‘Oral / Response’ explored the dynamic, but often disjointed relationship between these two linked but separate elements within the performance itself. The simultaneous dialogue between action and text in this work aimed to highlight the ways in which performance and its legacy as documentation can be reflexive and co-dependent. By making the text as evanescent as the act it describes, this work became the foundation of a new form of practice for both collaborators, a nexus of theory and practice that combined different languages, different ways of knowing and experiencing. The rules and regulations that direct and confine solo compositions in text and action became less rigid, more malleable and symbiotic. In the interim and beyond this work the collaboration has developed in such a way that the distinction between these disciplines, specifically in critical theory and arts practice, has become insignificant. While initially the partnership provided access to each other’s disciplines there is now fluidity, confidence, and trust whereby the roles ascribed to each varies depending on the requirement of the work. The lines have become blurred, and the separation of roles foggy allowing each collaborator the safety and space to take risks by entering domains that are less familiar research methodologies. Therefore the collaboration, aside from the actual work produced, has a significant extra dimension - it allows each partner to become confident and articulate in the others field. Dynamic elements have been liberated for the possibility of an analysis of the range of co-efficiencies and motivations that abound from this fusion, and speaks of the nature of collaboration itself. A reflexivity in approach and position has reshaped, informed, and re-informed the possibilities for emergent research, where trust allows each participant to be confident in a range of methods for creating knowledge. This chapter traces the development of the collaborative relationship from its beginning in two distinct areas of expertise and strength to a partnership where there is now more overlapping of roles.
    • A utilitarian antagonist: the zombie in popular video games

      Hunt, Nathan; The University of Derby (Palgrave Macmillan, 2015)
      This article takes as its starting point the prevalence of the zombie in video games. I argue that, although the zombie games often superficially resemble filmic texts in their use of aesthetic and narrative, they must be understood, less as a set of conventions and thematic metaphors in the way that the zombie text has been read in film and television scholarship, and more as a utilisation of the zombie as a utilitarian antagonist that facilitates and permits the pleasures of violence and fantasy in video game play. Beginning with the Resident Evil and Left 4 Dead series of games I examine the way that games necessarily update the notion zombie as mass antagonist via the need to vary gameplay activity through different styles of adversary for players. At the same time I will demonstrate that, far from simply being the province of the survival horror genre, the zombie appears across an array of game forms, game cultures and game productions. The zombie highlights the participatory nature of game culture in the array of zombie 'mods' that users create to transform existing games into zombie based games, in particular in relation to titles such as the Call of Duty series. At the other end of the production spectrum the zombie features heavily in the little studied area of online flash games where the zombie can be found in a variety of game genres and forms. The zombie here often operates as a pastiche of popular zombie narratives in survival games (The Last Stand), parodic engagements with zombie conventions (Jetpacks and Zombies) or play with the notion of zombie pandemics (the Infectionator games). Here I situate the zombie game as a aesthetic genre that works to provide an easily understandable context for such interactive genres as survival horror, text adventures, shooting games, physics games and driving games, with the popularity of these enough to drive numerous dedicated hosting and link sites such as zombiegames.net. The pastiche element of these games extends into gamers social engagement with games. Online debates over the the appropriate actions or preparation for a zombie holocaust are commonplace on the internet in such spaces as Zombieresearch.net. Whilst many of these sites feature decidedly tongue in cheek engagement with the notion of the zombie apocalypse, the users of fora for games like Left 4 Dead and Dead Island tend to debate this directly in the terms of the games themselves, discussing their relative merits or realism. Some of these games also highlight the specific pleasures of identifying the zombie as protagonist of sorts. In discussing this I will return to online gaming and the Left 4 Dead games in which players may compete online as part of the zombie horde. Such games raise major questions for the issues of identification and immersion that are said to be at the centre of the game experience. I will also explore the parodic pleasures of many flash games that situate the player in the role of spreading zombie infections. Throughout this article I aim to demonstrate that the zombie in game culture is less a cultural metaphor than a combination of utilitarian antagonist and a persistent aesthetic; a means of providing style or pleasure to many games that relies on the intertextual and flexible nature of the zombie as popular cultural phenomenon.
    • Water-fountain-sculpture

      Locke, Caroline; Wermers, Nicole; Pye, William; Janzing, Godehard; Bussman, Valerie; German Forum for Art History; University of Derby (Henry Moore Institute, 28/01/2017)
      This seminar event explored how water and fountains have been used by artists and sculptors for a variety of purposes. The afternoon began with a discussion of Marcel Duchamp's 'Fountain' (1917) and examined more recent examples of water sculpture such as the memorial at Ground Zero. In collaboration with Dr Godehard Janzing (Deutsches Forum für Kunstgeschichte), Valerie Bussmann (independent), Nicole Wermers (artist), William Pye (artist) and Caroline Locke (artist). Godehard Janzing discussed ‘Falling Waters at Ground Zero: when Terrorism turns into Nature’ and how the use of the symbolism of water becomes problematic in this context. Valerie Bussmann continued the theme of the city with an examination of the relationship Paris has with water as both necessity and art. Water as a sculptural material was explored by Nicole Wermers, focusing specifically on her 2011 series ‘Wasserregal’ (‘Watershelves’). William Pye has long been inspired by water and first introduced it as a major sculptural element in his work in the 1980s. Caroline Locke shared the themes of water and vibration, which have formed a key part of her practice and focused on her use of water in connection with her Performing Data projects. She has used her water fountains to animate certain data sets in connection with the human body and environmental data.
    • Who Are We, Where Do We Come From, Where Are We Going To? Greek Cypriot Women Artists in Contemporary Cyprus

      Photiou, Maria; Loughborough University (Taylor & Francis Publishers, 2012)
      This article is about Greek Cypriot women artists. In particular it concerns their art, their careers, and their relation to politics; the way they were influenced by politics in Cyprus and how they represented the political upheavals of the time in their own practice. Although all these artists experienced the several phases of Cypriot history in a different way, they all have something in common: the fact that these artists were women living in a colonised, patriarchal country under Greek Cypriot nationality. Their practices are the result of what they experienced and an analysis of their work will reveal the artistic strategies they applied as a response to the politics in Cypriot society.
    • William Melville: Eve of war

      McMahon, Daithi; O'Connor, Fred; University of Derby (Raidió Chiarraí Teoranta, 08/01/2015)
      This detective drama was written and produced to educate the Irish audience about one of their greatest historical heroes, the spymaster William Melville, a.k.a. ‘M’, whose exploits have been largely overlooked by historians. The script, audio style, performances and soundscape were carefully designed to recreate the classic detective radio dramas of the 1940s, offering a unique nostalgic experience for the listener, rarely heard on radio today. Synopsis: It’s 1914. Europe is on the brink of a war that will define the 20th century, and the fledgling British Secret Service, under the command of Kerryman William Melville, must stop a German spy ring operating covertly throughout London before they carry out their deadly operation. Based on real events this drama recreates the plot that pitted the legendary detective, who hailed from Sneem, Co. Kerry, against the Kaiser's ruthless spymaster, Gustav Steinhauer. Once colleagues but now adversaries, each man will stop at nothing to complete his mission. The German plot is to destroy the gold reserves in the Bank of England, thereby shattering Britain's economy and severely hampering or nullifying Britain's war effort. The events are thought to have inspired Ian Fleming to write his best-selling James Bond novel Goldfinger. This programme is part of a special ongoing series of dramas on spymaster William Melville. This production was selected to compete for the Prix Europa 2016 in the Radio Fiction category and won Silver for Best Radio Drama at the New York Festivals International Radio Program Awards 2016.
    • William Melville: The Queen's detective.

      McMahon, Daithi; O'Connor, Fred; University of Derby (Radio Kerry, 2014-05)
      In this classic detective drama, set in the summer of 1889, Melville’s skills are put to the test as he is assigned to protect the visiting Shah of Persia as Fenian anarchists aim assassinating the royal guest. This drama is based on actual events and creates an intriguing insight into the world of political intrigue, criminality, and espionage that would have existed in late Victorian London. The drama was produced for the audience in county Kerry where William Melville was from and was intended to educate and entertain the listeners young and old about one of the county's most decorated sons.
    • With a little help from my friends: The Irish radio industry's strategic appropriation of social network sites for commercial growth.

      McMahon, Daithi; University of Derby (IGI Global, 2017)
      Ireland has faced significant economic hardship since 2008, with the Irish radio industry suffering as advertising revenues evaporated. The difficult economic circumstances have forced radio station management to devise new and cost effective ways of generating much-needed income. The answer has come in the form of Facebook, the leading Social Network Site (SNS) in Ireland. Using Ireland as a case study, this chapter looks at how radio station management are utilising the social network strategically in a bid to enhance their audiences and revenues. Radio station management consider Facebook to be an invaluable promotional tool which is very easily integrated into radio programming and gives radio a digital online presence, reaching far greater audiences than possible through broadcasting. Some radio stations are showing ambition and are realising the marketing potential that Facebook and other SNSs hold. However, key changes in practice, technology and human resources are required to maximise the profit-making possibilities offered by Facebook.
    • World Heart Day 2017

      Levesley, Richard; University of Derby (29/09/2017)
      A national campaign that engaged social media, fashion design, publication and media to engage in the world heart day. A diverse visual response to the open theme of the heart, capturing cultural, and humorous characterisation associated with hearts. Engaged media in the campaign and raise awareness of the charity globally.
    • You anorak!: the Doctor Who experience and experiencing Doctor Who

      Forde, Teresa; University of Derby (Intellect, 2013)