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Post-rock composition and performance practice: authenticity, liveness, creativity & technology
Full text linkThis thesis seeks to recontextualise journalist Simon Reynolds’ 1995 definition of post rock from the perspective of a practitioner and guitarist, focusing on popular music production and recording practices. The research applies a practice-as-research (PAR) methodology combining practice, interviews (with contemporary practitioners in the field) and contextual theory (musicology of popular music, cultural theory, and technology studies).The rise of cheaper music technology and the influence of electronic dance music (EDM) aesthetics and cultures in the 1980s and 1990s in genres such as techno, house, and jungle, have influenced an increase in the integration of recording studio devices into live performance set-ups for stage. I argue that the amalgamation of studio and stage (DAWs, samplers, sequencers and loopers) redefines the ‘rock band’ model. This has created new collaborations, as the technology and production become a physical extension of the band members’ instruments (Emmerson, 2011) and expands their creative processes. Guitarist Jonny Greenwood from Radiohead comments on a new way of composing, recording and performing: a ‘third’ way between playing and programming (Greenwood, in Rose, 2019:201). The ‘rock band’ model is shifting between studio and stage, live and recorded, and experimental and accessible, challenging the themes of liveness (Auslander, 2002).
The thesis proposes that the ‘I’ of the band identity or the individual ‘rock’ performer has therefore dissolved or has been displaced by the more complex ‘I’ of the human and machine.
Through producing Series of Studio Experiments (2019) and the album Enid – Yes! (2021) the research practice is concerned with the space between live performance and creative studio production— the post-digital performance. Post-rock thus presents a paradigm shift in authenticity, in which the origins and authors of sound are dislocated, and the creative acts of the manipulation of sound becomes the emerging virtuosic act, or act of timbral virtuosity (Solis, 2015).
Practice research at the links below
Harnessing green innovation via green transformational leadership in Italian luxury hotels: key strategic takeaways
No full textThe increasing focus on environmental issues has resulted in the widespread acceptance and prominence of green innovation. However, existing literature on hotel management has overlooked exploring the key factors that drive green innovation specifically through the mediating mechanisms of green dynamic capability (GDC) and green environmental orientation (GEO). To fill the gap in the existing hospitality literature this study utilized the natural resource-based view (NRBV) to investigate the correlation between green transformational leadership (GTL) and green innovation (GI). Two research studies were carried out in Italian luxury hotels to assess the efficacy of the theoretical framework. The research findings emphasize that the enhancement of a hotel’s GDC and GEO can be facilitated by providing GTL. This in turn may lead to the enhancement of GI which improves the CA and GP of a hotel
Design’s energy transition: rethinking products, reducing energy, and redesigning behaviours
No full textBuilding a people’s art: selected works of Trường Chinh and Tố Hữu
Full text linkBuilding a People's Art is a ground-breaking work that brings together, for the first time, a curated selection of writings by Vietnam's foremost wartime cultural theorists, Trường Chinh and Tố Hữu. These texts, which include sharp critiques of existing cultural practices, visionary calls for cultural revolution, and principles of art-making, are foundational to the establishment of Vietnamese socialist realism. The majority of these works, pivotal in shaping Vietnam's cultural and artistic landscape during and after the war, have been translated into English for the very first time, offering readers a rare glimpse into the ideological underpinnings of Vietnam's revolutionary art. Muller's introduction situates the translated texts within the broader context of Vietnam's colonial history and its complex socio-political struggles, providing readers with a deeper understanding of the forces that shaped the nation's artistic expressions. What makes this important book particularly striking is its visual component: nearly one-hundred never before seen artworks created by twenty-five Vietnamese artists from the era are included, offering a tangible portrayal of the techniques and styles that emerged during the war. These artworks not only complement the theoretical writings but also serve as a powerful visual documentation of a tumultuous and transformative period
An Alluring Maquette
No full textKlenz' new work An Alluring Maquette (2024) showcases collage-like photographic pieces that draw from architecture, animal mimicry and traditional Japanese crafts such as wood joinery, ink marbling and lacquer painting techniques, inviting us to consider how we might build communities that better serve local people.
A century ago, Swiss-French architect Le Corbusier laid out his manifesto for a Modernist utopia, published under the title Toward an Architecture (1923). His vision of glass, steel and concrete, came to dominate the first half of the 20th century urban landscape. His ideas of rational and universal building principals, partnered with global systems of capital and development, transformed urban environments world-wide. Consequently, Modernist architecture come to dominate any other building style(s), becoming the prominent architectural movement until the 1980's.
The German architect Bruno Taut (1880-1938) was an architect who strongly believed that architecture had the power to reshape the world and society. Fascinated by his innovative cross-cultural model of Modernist architecture, Klenz' new project focuses on his Hyuga Villa (1936) in Atami in Japan, a building which synthesised Modernism with traditional elements of Japanese craft and design. Of interest to Klenz is Taut's resistance to Le Corbusier's assumption that Modernism is a neutral international model to be imported anywhere in the world. Instead of conforming to the ideology of standardisation based on Western norms, for Taut, form is of secondary importance while materiality and 'the local' are key. What makes the Hyuga Villa both distinctive and interesting is that it promotes place-specific concerns: it symbolizes Taut's resistance to this early architectural Euro-centric idea of globalisation as well as perceived notions of the superiority of the West.
Expanding on this, Klenz constructs multi-layered works including elements of the Hyuga Villa focusing on Taut's use of unusually bold colours as well as his integrated unusual building materials such as bamboo. This is woven with imagery of traditional Japanese wood joinery in particular tsugite and shiguchi joints as well as suminagashi ink marbling and urushi lacquer painting techniques. Studying these techniques and traditions during her visit to Japan, Klenz hereby inserts her own knowledge and appreciation for craft into the works. This extends to the intricately handmade wooden frames that surround them.
These elements are combined with imagery of the wunderpus octopus. Named after the German word 'wunder' meaning 'to marvel' or 'to wonder', the wunderpus, can be found off Japan's Ryukyu Islands. Klenz draws a connection between Taut - who strove to assimilate stylistically into his surroundings - with the wunderpus - who, too, can mimic its environment. Traditionally interpreted as a defence mechanism, French literary critic Roger Caillois (1913-78) theorised that animal mimicry is governed by the 'lure of space'. In this interpretation, the wunderpus chooses to find and copy an environment it finds attractive. In doing so the wunderpus blurs the boundaries between itself and its surroundings, making it difficult to distinguish between the two. Klenz also plays with this effect in her imagery as different components mingle and intertwine, becoming difficult to separate. Not just a metaphor for these optical illusions, or Taut who was lured by Japanese architecture, Klenz uses the wunderpus to ask why are we attracted to particular places? How are we affected by our environment and how do we affect it in return?
Unravelling the history of Euro-centric architectural Modernism led by Le Corbusier reveals stories of globalism, strategies for cultural and architectural assimilation and perceived Western superiority. Architectural taste and aesthetic opinions participate in a conflict over the control of space whereby dominant architects and their styles put into practice strategies of distinction by imposing aesthetic principles, or 'good taste'.
Taut challenged the Western architectural ideology of Modernist architecture as the dominant building style and instead acted as a 'cultural broker'. His Hyuga Villa opens up the wider contemporary question of how architectural ideas, concepts and building techniques move across geographies and nationalities. In exploring Taut's place-sensitive building, Klenz asks us to consider how architecture can better reflect local cultures, environments and contexts in our contemporary debate on the heritage of our built environment's andthe question of cultural translation, exchange and blending in architecture.
The exhibition is accompanied by a free publication: "Now You Hear Us" which seeks to amplify the voices of local residents. In the context of Bodø being on the threshold of redevelopment and a new airport, the publication presents seven interviews with Bodø residents who share their opinions on Bodø, its architecture and its future.
The publication was distributed to every household in Bodø and was available at the exhibition. Klenz also invited the public to leave their own answers to the questions in an installation in NOUA's Project Room, which was open throughout the exhibition period.
An Alluring Maquette, solo exhibition, NOUA, Bodø, Norway (part of the official 2024 European Capital of Culture, Bodø (Norway)
The Change Within
No full textAmelia Maxwell Art Advisory ‘The Change Within’ group exhibition - May 2024, London.
Between the year-round presence of produce and our ever-full work calendars, a blindness to the seasons, cycles, and rhythms of nature persists, and we – as part of nature – are in turn blind to ourselves. In The Change Within’, Amelia Maxwell Art Advisory collects and curates the work of women in the arts to exhibit their work at J/M Gallery, 230 Portobello Road, to bring forward the details, patterns, colours, and movement of nature. And who are these women?
Lucy Wayne, who brings out the graphical qualities of flowers and leaves with long and delicate lines and strong silhouettes. Ellen Williams who brings to mind the staining and sporadic elements of flora in bloom almost to an abstracting degree. Lisa Hardy, who closely examines through an emotive lens the moody colours and soft light in paintings that immerse one in the pre-dawn mists that blanket our days. Natalia Bagniewska, who seems to journal flora in the domestic setting that is steeped in bright vibrant colours and shapes that verge on the child-like. Hannah Rollings who takes a surrealist’s approach to colour in the unruly and sweeping landscapes that burst out of the confines of where one thing might end and another begins. Sophie Daffern, who has a keen eye for patterns and intricacies in the flowers and vases she depicts. Jo Rance, whose work on the seasonal changes in her local countryside takes pastel tones and acidic tones that verge on the psychedelic.
It is through their work about the flourishing and decay of nature, the representation of the contours and colours of the landscapes that shift beneath us, that we get an introspective look into how these artists witness their own place in the world, and highlight the push and pull we feel within.
The Change Within will have a private viewing on Thursday the 9th of May. The exhibition will be open to the public from the Friday the 10th of May and close on Monday the 13th of May 2024
From algorithms to attire – AI, the new fashion image, exploring possibilities for fashion librarians
Full text linkArt Libraries Society UK & Ireland hosted its 2024 conference at Central Saint Martins, University for the Arts, London, 2 July 2024. The conference’s theme 'Artificial Visions' explored the playful, critical and compassionate ways in which art librarians are adapting in the world of artificial intelligence. Speakers and contributors delivered talks, workshops and panels that investigated the role of emerging technologies, including machine learning, generative AI and natural language processing.
This workshop aimed to delve into the transformative potential of using generative image AI to search, create, and reference fashion imagery, exploring its implications for fashion librarians supporting fashion and textiles students in higher education
Review of Melayna Kay Lamb (Ed), A philosophical history of police power
Full text linkThe question of police power cannot be adequately answered through the lens of sociohistorical analysis, social control, or property protection because, as Melayna Kay Lamb makes plain, police are required to make the social formation of the modern world cohere. We have seen a rush to caricature attempts to understand policing through political ontology—particularly those under the (seemingly capacious) banner of Afro-pessimism. It is important to read A Philosophical History of Police Power as providing a corrective to this anxiously prophylactic critique
2024 NIPA K-Metaverse project: provision of consultancy services for identifying potential business opportunities for XR/VR solutions, including solutions of companies selected by NIPA in the Middle East, UK, and India
No full textThe report explores potential business opportunities for XR/VR solutions, focusing on the Middle East, UK, and India. It includes an analysis of market trends, challenges, and opportunities, with insights into solutions developed by companies selected by NIPA
Patent for Training Device for Lasso/Lariat/Roping. Working name, 'Moo-Moo Lasso'.
No full textA training device for practicing lassoing and throwing a lariat rope around the head or neck and, if applicable horns, of an animal such as a calf, cow or horse comprises flat plywood profile shapes that are slotted together to form the cow/calf shape
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