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One Shared Owner: artists talking about creating collaborative space and sustainability
No full textPanel discussion at Saltspace Gallery, Glasgow with Ellie Smith-Barratt (Vanilla Ink).
Discussing experiences of artist-run initiatives and exploring the sustainability of creative spaces and communities in Scotland. Focussing on supports for early career practitioners in the City of Glasgow and nationally.
Supported by the Scottish Artist Union
Fabrics of Identity: School Uniforms
No full textThe new online exhibition of the Digital Museum of Learning: Fabrics of identity, questions the history, nature and role of clothing at school and for pupils around the globe. School uniforms are part of the questioning and will be investigated in this event curated by Aude Le Guennec for children aged 7 to 12 years old. In this section,"Tell me" (2022-23) questions the role of clothing as a communication medium between early years primary school children (coordinated by Aude Le Guennec, Laetitia Barbu, Anne-Charlotte Hartmann-Bragard and Xiang Li)
R E - R E C O R D I N G (THE ATTIC ARCHIVE)
No full textA digital artefact featuring documentation from the performance 'R E - R E C O R D I N G (Pete Horobin's 'Digestive Biscuit Action', 1986)'. (Output ID: 10131). This work was curated by Derek Horton and Gertrude Gibbons for a special anniversary edition of soanyway magazine. In response to the magazine's mission to serve as 'a platform for work that tells stories using a combination of words, images, and sounds', I aimed to create a digital artefact output documenting Pete Horobin's video performance 'Digestive Biscuit Action' (1986) as featured in my 2024 performance, 'R E - R E C O R D I N G' continuing Horobin's desire to 'encourage and stimulate the creation of new works' from existing material within The Attic Archive. Therefore, this digital artefact documents my attempt to preserve and disseminate Horobin's original work, which is otherwise hidden in the archive, through performance-making as a new artwork in its own right
Sound of Violent Images / Violence of Sound Images: Pulling apart Tom and Jerry
Get PDFViolence permeates Tom and Jerry in the repetitive, physically violent gags and scenes of humiliation and mocking, yet unarguably, there is comedic value in the onscreen violence.The musical scoring of Tom and Jerry in the early William Hanna and Joseph Barbera period of production (pre-1958) by Scott Bradley played a key role in conveying the comedic impact of violent gags due to the close synchronisation of music and sound with visual action and is typified by a form of sound design characteristic of zip crash animation as described by Paul Taberham (2012), in which sound actively participates in the humour and directly influences the viewer’s interpretation of the visual action. This research investigates the sound-image relationships in Tom and Jerry through practice, by exploring how processes of decontextualisation and desynchronisation of sound and image elements of violent gags unmask the underlying violent subtext of Tom and Jerry’s slapstick comedy. This research addresses an undertheorised area in animation related to the role of sound-image synchronisation and presents new knowledge derived from the novel application of audiovisual analysis of Tom and Jerry source material and the production of audiovisual artworks. The findings of this research are discussed from a pan theoretical perspective drawing on theorisation of film sound and cognitivist approaches to film music.
This investigation through practice, supports the notion that intrinsic and covert processes of sound-image synchronisation as theorised by Kevin Donnelly (2014), play a key role in the reading of slapstick violence as comedic. Therefore, this practice-based research can be viewed as a case study that demonstrates the potential of a sampling-based creative practice to enable new readings to emerge from sampled source material. Novel artefacts were created in the form of audiovisual works that embody specific knowledge of factors related to the reconfiguration of sound-image relations and their impact in altering viewers’ readings of violence contained within Tom and Jerry. Critically, differences emerged between the artworks in terms of the extent to which they unmasked underlying themes of violence and potential mediating factors are discussed related to the influence of asynchrony on comical framing, the role of the unseen voice, perceived musicality and perceptions of interiority in the audiovisual artworks. The research findings yielded new knowledge regarding a potential gender-based bias in the perception of the human voice in the animated artworks produced. This research also highlights the role of intra-animation dimensions pertaining to the use of the single frame, the use of blank spaces and the relationship of sound-image synchronisation to the notion of the acousmatic imaginary. The PhD includes a portfolio of experimental audiovisual artworks produced during the testing and experimental phases of the research on which the textual dissertation critically reflects
Twinflower/ Footnotes/ Preliminary Research
No full textPart of The Silent Archive, a group show at Inverleith House, Royal Botanic Garden, Edinburgh.
Three separate works made in response to works and specimens held in the RBGE's herbarium, library and archive:
- footnotes - series of six photopolymer etchings paired with RBGE cuttings
- Twinflower - film, photopolymer etching with cutting from the RBGE archive
- Preliminary research - shown in display cases: initial written notes and ephemera relating to specimens held in the archive.
About the exhibition:
"Painful truths, surprising revelations and fresh perspectives on humanity’s complex relationships with the botanical world emerge from our exhibition Silent Archive.
"International artists reveal RBGE’s archives in new ways, challenging us to discover hidden narratives and hear long-ignored voices that are preserved in our collections. Significant works that tell stories of scientific discoveries, colonial histories and cultural heritage are displayed for the first time. Plant artistry, photography, music and more help convey how these archives shape our view of history, whose past they represent and how they might inspire change." RBG
What's in a Name? Exploring the origins of the British toy steam locomotive
Get PDFThe class of brass-built, spirit fired, toy locomotives commonly called 'dribblers' are likely the first ever commercially made model railway products in the world. Until now, it has been generally taken that the first were the products of significant London instrument makers in the 1840s and 1850s. This article sets out to prove that this is mistaken. Using close object analysis coupled with trade directories and census records, it demonstrated that, regardless of the names they bear, they were all the product of a single individual, seemingly working without any significant competition between c1845 and the early 1860s
Past and Possible Lives in Inland Empire
No full textThis chapter focuses on the theme of reincarnation prominent in David Lynch’s 2006 film Inland Empire in which an actress, Nikki Grace (Laura Dern) appears to relive a series of past lives after she commences work on a remake of an earlier movie, rumoured to be ‘cursed’.
I demonstrate how Inland Land Empire’s representation of reincarnation demonstrates Lynch’s interest in, and knowledge of, Theosophy, a philosophical religion founded in the United States in the late 19th century. In doing so, I compare Inland Empire to another text in which the theme of reincarnation is also prominent, and which also demonstrates an awareness of the tenets of Theosophy, James Joyce’s classic Modernist novel Ulysses (1922), suggesting that it may also have been an influence on Lynch’s film.
I also provide a comparative analysis of Inland Empire and the Netflix Originals series The OA (2016-19) which too has a prominent theme of reincarnation as well as the representation of other, possible lives its main characters might have lived, which also occurs in both Lynch’s film and Joyce’s novel
Augmented reality headsets for surgical guidance: the impact of holographic model positions on user localisation accuracy
Get PDFNovel augmented reality headsets such as HoloLens can be used to overlay patient-specific virtual models of resection margins on the patient’s skin, providing surgeons with information not normally available in the operating room. For this to be useful, surgeons wearing the headset must be able to localise virtual models accurately. We measured the error with which users localise virtual models at different positions and distances from their eyes. Healthy volunteers aged 20-59 years (n = 54) performed 81 exercises involving the localisation of a virtual hexagon’s vertices overlaid on a monitor surface. Nine predefined positions and three distances between the virtual hexagon and the users’ eyes (65, 85 and 105 cm) were set. We found that some model positions and the shortest distance (65 cm) led to larger localisation errors than other positions and larger distances (85 and 105 cm). Positional errors of more than 5 mm and 1-5 mm margin errors were found in 29.8% and over 40% of cases, respectively. Strong outliers were also found (e.g., margin shrinkage of up to 17.4 mm in 4.3% of cases).
The measured errors may result in poor outcomes of surgeries: e.g., incomplete tumour excision or inaccurate flap design, which can potentially lead to tumour recurrence and flap failure, respectively. Reducing localisation errors associated with arm-reach distances between the virtual models and users’ eyes is necessary for augmented reality headsets to be suitable for surgical purposes. In addition, training surgeons on the use of these headsets may help to minimise localisation errors
Practicing Landscape Field Guide No. 1: Landscapes of Energy and Extraction: Mining the Animal
No full textPracticing Landscape Field Guides are a series of publications that Reading Landscape has developed from a series of online seminars run during academic year 2021-22, entitled Practicing Landscape: Landscapes of Energy and Extraction.
Field Guide No. 1, 'Landscapes of Energy and Extraction: Mining the Animal', has been developed from the original seminar to form the first in this series of publications. As a result of participating in the online seminar, Michael Mersinis, Elizabeth A. Hodson and Jim Harold continued their dialogue offline, discussing lingering questions that the seminar had prompted for them. The resulting publication reflects the subsequent expansion and consolidation of their ideas. These essays also pick up on where both the 'Practicing Landscape: Land, Histories and Transformation' online symposium (2020) and the 2021-22 seminars concluded: drawing out the tensions and legacies between the human and non-human environment.
In the collaboratively authored Foreword, Brind and Bird provide a context for consideration of these ideas, teasing out how 'Mining the Animal' directs attention to the relation between the more than human, landscape and people. Specifically, the way in which contributors discuss how the voice of the animal reveals itself; whether through its absence or artistic intervention