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Data to support study of synthesis and characterisation of rhenium tricarbonyl polypyridine-functionalised cyclotriguaiacyclene ligands.
Get PDFData to support study of synthesis, crystallographic, spectroscopic and photophysical characterisation of rhenium tricarbonyl polypyridine-functionalised cyclotriguaiacyclene ligands
Data for "The adsorption of fungal ice-nucleating proteins on mineral dusts: a terrestrial reservoir of atmospheric ice-nucleating particles"
No full textThe occurrence of ice-nucleating particles (INPs) in our atmosphere has a profound impact on the properties and lifetime of supercooled clouds. To date, the identities, sources and abundances of particles capable of nucleating ice at relatively low supercoolings (T > −15° C) remain enigmatic. While biomolecules such as proteins and carbohydrates have been implicated as important high-temperature INPs, the lack of knowledge on the environmental fates of these species makes it difficult to assess their potential atmospheric impacts. Here we show that such nanoscale ice nucleating proteins from a common soil borne fungus (Fusarium avenaceum) preferentially bind to and confer their ice-nucleating properties to kaolinite. The ice-nucleating activity of the proteinaceous INPs is unaffected by adsorption to the clay, and once bound the proteins do not readily desorb, retaining much of the activity even after multiple washings with pure water. The atmospheric implications of the finding that biological residues can confer their ice-nucleating ability to dust particles are discussed
Silicon Luthiers: a component-level history of electronic music
No full textThis submission focuses on the devices that make a music electronic and their authors. From David Tudor to Martin Howse, modern electronic music and sound art practitioners have focused heavily on how approaching composition from inside electronics could produce new, unique and forward-thinking music.
This desire to acknowledge the literal makers of electronic music is inspired by Pinch’s social vision of technological systems, and Piekut’s application of actor-network theory to the Cagean experimental music world: if it is important to understand all the actors and network of actors in the development of technological systems or musical movements, what can considering the devices in electronic music, their sub-systems, their components, and all their respective authors or makers bring to the table when trying to accurately describe and contextualize the music they permitted?
By presenting selected examples, the case will be made for linking design and manufacture methodologies with musical ones. Electronic music instruments serve a different purpose than most consumer electronics.
These examples all serve to illustrate that the self-taught engineers of musical electronics each create a personalized and effective approach to making their instruments. This translates directly into the music made with those instruments.
If it has been natural for some musician to embrace do-it-yourself electrical engineering and tinkering practices, interdisciplinary visions of musicology and music history appear as best in attempting to contextualize and discuss their musical products. Working from some of Collins’ remarks in Handmade Electronic Music, Vinck’s Everyday Engineering, and adapting Dunne’s concept of post-optimal objects to present electronic music instruments as catalysts of poetic expression, an interdisciplinary framework for discussing the importance of these widespread and multifaceted do-it-yourself practices in a musical context is offered for further critique and refinement
The Pre-History of the Columbia-Princeton Electronic Music Center
No full textThe Columbia-Princeton Electronic Music Center, established in 1958 with a grant from the Rockefeller Foundation, was the first formal institution for such a purpose in the United States. As it happens, the Rockefeller Foundation awarded Vladimir Ussachefsky and Otto Luening a grant in 1952 “to purchase basic equipment to be used exclusively for creative research in the field of electronic music.” Though well-known and prestigious, the history of the Center’s funding and institutionalization are as of yet untold in any depth. This paper will seek to redress that, using tools from art-world ethnography, anthropology, sociology, and musicology to examine the often overlooked or invisible driving forces behind the Center so as to reveal why certain musics and technologies were promoted over others. Based on archival material from the Rockefeller Archive Center and Columbia University archives, this paper will investigate the social and economic prehistory of the Columbia-Princeton Electronic Music Center, focusing in particular on the marriage of university and private missions and monies that enabled the Center’s existence. The paper will also look at the collaboration among Ussachefsky, Luening, and Babbitt, and their respective musico-technological interests. Thus, this paper will necessarily discuss the growing notion of music composition as research, and how the packaging of music composition as such has lived on in university music departments, particularly in the field of electronic music.
Luening and Ussachefsky saw what they were doing with tape as distinct from musique concrète and elektronische Musik, describing their work as decidedly more aesthetic-minded than either European camp, and also more worthy of interest and pursuit than experiments in the popular music industry. As they explained it to the Rockefeller Foundation officers, musique concrète was an effort “to make tape recordings of different kinds of sounds in the natural world … without regard to their musical significance.” Luening and Ussachefsky charged that composers of this music had “strayed into a narrow path of intellectual sensationalism.” Moreover, they had “imitators who applied ill-digested precepts of mysticism and fatalism to substitute for the poverty of musical invention.” By contrast, their work emphasized “the musical and humanistic elements” of the compositional use of tape recorders. Ussachefsky and Luening saw the tape recorder as a sort of “prism” through which sound could be run and transformed. Therefore, the tape recorder was a creative tool that had had great “effect on [their] imagination,” allowing them “[t]o achieve freedom from the restrictions [within musical development] which have multiplied in the past thirty years[.]” Tape music, then, was a “means of removing certain barriers that block the course of western music, and of bringing to a synthesis the new materials of the twentieth century and the musical values of the past.” This paper will seek to expose what, exactly, they meant by this, and how it influenced the future Center’s mission
Collaboration and Musical Assistants at IRCAM, CCRMA, and CSC
No full textThe revolution of sound recording, synthesis and transformation (commenced in 1948 with concrete music and in 1950 with electronic music), followed by the birth of computer music (since 1957), caused the natural emergence of a new professional profile – someone who can work in the phase of researching, writing, creating new instruments, recording and/or performing live during concerts. From the early days, laboratories and electronic music studios have involved the presence of different individuals with diverse but intertwined competencies. This is true for the Milan, Cologne, Paris and San Francisco centres during the first analogue generation; this has continued with the digital revolution (at CCRMA in Stanford and other centres in the United States, in France, Italy, Great Britain, Germany, East Asia, to name a few).
Although books and essays dedicated to the history of Computer Music do agree, in principle, on the interdisciplinary nature of this music and the importance of collaboration,3 and the field of music collaboration starts at last being investigated,4 the existence of the musical assitant has been often unreasonably neglected. In both the musical score and the program notes, or in written sources (a least in the published ones), his/her presence remains hidden most of the time, and literature on the collaboration composer/musical assistant is scattered.
I’ve been studying collaboration in computer music for a few years.5 Previous results have allowed me to trace the history of the name of this profession as it developed at IRCAM (Musical Assistant and RIM, Réalisateur en Informatique Musicale) [Zattra 2013a], to outline the analysis of an anonymous survey submitted to different musical assistants all over the world [Zattra 2013b] and to report findings from semi-structured interviews (Musical Assistants’ self-knowledge, role and visibility: Zattra 2015).
In this communication I will report findings from a study based on primary and secondary sources and administrative documents, conserved at three computer music centres: the IRCAM (Institut de Recherche et Coordination Acoustique/Musique) in Paris, the CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University and the CSC (Centro di Sonologia Computazionale) in Padova. The analysis will examine two points: 1) institutionalisation and recognition: I would investigate the presence (or absence or understatement, as the case may be) of an express concern for the theme of collaboration and the role of the musical assistant; 2) the presence of passages inside the sources, describing the ways in which this collaboration was undertaken between musical assistants and composers.
My study covers the technological historical period which runs from the early computer programs until the first real time experiments. It is intended to enlighen the hidden art-science collaboration, the emergence of a profession, the traces remaining from the habitually wordless communication between a composer and an assistant, in the early era of computer music. It introduces questions about cooperation and the way it could induce dilemmas when considering authorship. The choice of these three centres is motivated by the close historical, musical, organisational, scientific and technological connections, and by the numerous technical, cultural and scientific exchanges between the three
An Ontology of Soil Properties and Processes.
Get PDFThe ontology mainly describes soil properties and processes, as well as how they affect each other. For example, the strength of soil is influenced by the water content of it. The ontology is created manually and written in OWL 2 Web Ontology Language Manchester Syntax. It contains 592 concepts and 2243 relation statements (OWL logical axioms). The concepts and relation statements are created based on the knowledge of domain experts, the SWEET ontology developed by NASA, English dictionaries and a textbook on soil physics (Principles of Soil Physics, by Rattan Lal and Manoj K. Shukla, 2004). The ontology can be viewed using an ontology editor (e.g. Protégé). Description logic reasoners (e.g. Pellet) can be used to reason about relation statements in the ontology. The soil properties and processes described in the ontology have agricultural, engineering and environmental applications, including asset maintenance
Data associated with “Influence of Third Body Particles Originating from Bone Void Fillers on the Wear of Ultra High Molecular Weight Polyethylene”
No full textThe dataset contains material to supplement the paper “Influence of Third Body Particles Originating from Bone Void Fillers on the Wear of Ultra High Molecular Weight Polyethylene” including: wear rates of UHMWPE pins and surface roughness analysis of cobalt chrome plates using both the contacting Form Talysurf and the Bruker NPFlex
Hugh Davies, "Voice", "Not to be Loaded with Fish", and "Birth of Live Electronic Music"; plus improvisations: Performances by Steve Beresford, Phil Minton, Aleks Kolkowski and Sean Williams, with pre-concert lecture by James Mooney.
Get PDFA concert of music composed by Hugh Davies, plus improvised music in tribute to Hugh Davies, staged at the Clothworkers’ Centenary Concert Hall, University of Leeds, UK, at 4pm on Sunday 18 October, 2015. The data-set includes a video recording of a pre-concert talk by Dr James Mooney, video recordings of all the pieces performed, and a concert programme with programme notes in PDF format. Pieces performed include: Hugh Davies’s ‘The Birth of Live Electronic Music’, ‘Voice’, and ‘Not to be Loaded with Fish’; an ‘Improvisation on Steve Beresford’s “Voice”’; and a group improvisation. Davies’s ‘The Birth of Live Electronic Music’ is performed twice. The performers are Steve Beresford, Aleks Kolkowski, Phil Minton, and Sean Williams. Sound and video: Colin Bradburne. The concert was staged as part of the AHRC-funded research project ‘Hugh Davies: Electronic Music Innovator’ (AHRC ref: AH/M005216/1), led by Dr James Mooney (University of Leeds) in partnership with Dr Tim Boon (Science Museum, London)
Dataset associated with "Effect of annealing on the interfacial Dzyaloshinskii-Moriya interaction in Ta/CoFeB/MgO trilayers"
No full textThe interfacial Dzyaloshinskii-Moriya interaction (DMI) has been shown to stabilize homochiral Nèel-type domain walls in thin films with perpendicular magnetic anisotropy and as a result permit them to be propagated by a spin Hall torque. In this study, we demonstrate that in Ta/Co20Fe60B20/MgO the DMI may be influenced by annealing. We find that the DMI peaks at D=0.057 +/- 0.003 mJ/m2 at an annealing temperature of 230 DegC. DMI fields were measured using a purely field-driven creep regime domain expansion technique. The DMI field and the anisotropy field follow a similar trend as a function of annealing temperature. We infer that the behavior of the DMI and the anisotropy are related to interfacial crystal ordering and B expulsion out of the CoFeB layer as the annealing temperature is increased
Dataset for 3D Visualization of Additive Occlusion and Tunable Full-Spectrum Fluorescence in Calcite.
No full textDataset for 3D Visualization of Additive Occlusion and Tunable Full-Spectrum Fluorescence in Calcite. Fluorescent dye molecules are occluded in calcite single crystal hosts and analysed by confocal microscopy, pXRD, fluorimetry, SEM, FLIM and quantitative analysis. additive zoning, and the effect of this zoning on the dye molecules, was analysed. The dataset shown here was published in a paper with the same title