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Red Lake / Black Mine - Album
No full textRed Lake / Black Mine is a new multimodal work by composer and visual artist Will Parker - formed by walking, digging and collecting in an area of inland Cornwall referred to as the ‘Carnon Valley’. A trapezoid of land enclosed by the A30, A39, A390 and A393 roads. The title is derived from Baldhu (translation black mine) and Wheal Maid, a former arsenic and copper mine, where the toxic drainage water has formed a crimson lake.
The work exists in correlative forms: album, book, and performance. A contemplative communion of sounds, images and text, interwoven from conversations, police reports, buried books, newspaper articles, historical sources and personal journals. Unearthing narratives, abstracted themes and emotional forces.
Offering a delicate, fragmented sound world with an intense ASMR-like proximity to the body - Red Lake / Black Mine is a confluence of diverse sonic materials. Modular synthesis meets environmental sounds, deconstructed hymns, opera and VLF recordings of pylons
Playful Occultism
Full text linkThis seminar will explore manifestations of the occult in relation to play and games. This relationship will take a twofold form: the influence of the occult on games and the aspects of play in occult practice. Howard will explore case studies from the many tabletop and videogames that are influenced by the occult, arguing that one meaning of the occult involves games with hidden depth, analogous to what Doris Rusch would refer to as “deep games.” In some of these cases (especially solo role-playing games and LARPs), any sufficiently deep simulation of ritual is indistinguishable from ritual, causing the magic circle posited by early game studies scholar Johann Huizinga to break. At the same time, Howard argues that many forms of contemporary magical practice can be understood productively through the lens of play, from the influence of Crowley’s chess games on his astral visions to the elaborate metaphorical systems of Andrew Chumbley’s Sabbatic Craft and Kenneth Grant’s Typhonian Gnosis.
Occultism can be understood as a form of play because both involve worldbuilding, make-believe, the narrative interpretation of chance as fate, and an openness to free movement within a structure. Seeing occultism as play helps to liberate magical practitioners from the excessive solemnity that can inhibit magic when the practitioner strains too hard for results. Rather, a playful approach to occultism can open practitioners to spontaneous synchronicities that disrupt the stately decorum of ceremonial rituals, which Kenneth Grant refers to as “tangential tantra.” Such a view of occultism aligns with and extends chaos magician Lionel Snell’s concept of “the games layer”: a state of reality above all Platonizing model, in which any system of magic is adopted playfully as an arbitrary but elegant framework of rules within which graceful performance can occur
Taking up space
Full text linkCornwall, in the far southwest of Great Britain, is only seven miles wide at its narrowest point. Surrounded on three sides by the sea, it has among the lowest permanent population densities of the UK (Office for National Statistics 2021), and much of the region is served by a single main road. Historically, its main industries were fishing and mining; today, despite having towns and a city, Cornwall is marketed to tourists with a romanticised vision of its rural and coastal remoteness. Traditional industries would likely have left the landscape empty: with miners underground (though with 'balmaidens' smashing stones above ground) and fishermen at sea, there must have been a spaciousness, a lack of visible 'busy-ness' (Tuan [1977] 2008: 61). Yet the number of visitors in peak season clashes with the marketed image of quiet rurality that draws to some extent on this historic imaginary. Small fishing villages frequented by tourists easily become blocked by traffic. A boom in holiday rentals, plus an increase in new permanent and temporary residents, has resulted in many local people priced out of their town centres, previously the locus of the community (Duignan 2019). As Tuan observes, 'ample space is not always experienced as spaciousness' ([1977] 2008: 51), and 'for everyone a point is reached when the feeling of spaciousness yields to its opposite-crowding' (Tuan [1977] 2008: 59). The issue of space, clearly, figures prominently in the region's social dynamics. In the context of its intangible cultural heritage (ICH), crowds have traditionally been essential for the liveliness of annual gatherings: the place to meet with extended family, to cook and have an open house, to meet new people, perhaps future partners (Frears 2010). In the present day, too, cultural events are widely acknowledged to be an opportunity to build community (e.g. Duffy & Mair 2014; Arcodia &Whitford 2006) to the extent that they are the annual focal point for many local people. But of course, alongside increased tourism and other demographic changes, it is not only the local community celebrating, as may have been traditionally the case. Known and unknown participants must share space and see each other close-up. Just as there are tensions between insiders and outsiders in Cornwall as a whole, these events offer 'an arena where negotiation is forced upon us' (Massey 2007: 154). In this chapter, we consider the way space functions at two ICH events in Cornwall: both as microcosm of, and reaction to, the spatial relations that are enacted and negotiated within Cornwall's wider socio-cultural landscape
Podcasting as a Contemporary Curation Practice: A Conversation with Projections’ Mary Wild and Sarah Cleaver.
No full textPodcasting as a space is malleable and open to a variety of readings, engagements and practices. Its ‘hybridity of thought, sound and text […] fosters a reinvigoration of the dialectic’ (Llinares et al.; 2018: 02) that creates a space for conversation to be cultivated and new, emerging voices to be heard and embraced. While this dialectic reinvigoration is evident in the work of audio creators whose background in traditional media (such as Radio) affords them the gatekeeping privilege of historical power, there is also cause for optimism that podcasting is emerging as a democratic space populated by a diverse range of voices. Many of those voices, ones traditionally marginalised within traditional media spaces if represented at all, have found a home in podcasting. Via a conversation with the hosts of the psychoanalytic film podcast Projections (2018- ), Mary Wild and Sarah Cleaver, this chapter explores the potentiality of podcasting for developing new, previously underserved audiences, and examines the capacities of audio curation as a mechanism for prompting audiences to discover or re-visit undervalued texts, voices and narratives.
As the medium of podcasting and its subsequent academic study grows it is vital to expand existing ideas around podcasting to incorporate different contexts. The role played by curation, how audiences and podcast producers think through and enact the cultural play and labour of not just listening, but collecting, sorting, sharing, and reflecting on their podcasting practice, is an under-theorisred strand of Podcast Studies. By situating podcasting as a curatorial practice, ‘collection-making’ (2015: 39) as curator Hans Ulrich Obrist writes, we can conceptualise how the dynamics of the medium engenders curation and archival assemblage that can be placed in the context of both commercial and nostalgic consumer needs. However, as a largely democratic medium, for the time being at least, podcasts can also use and create archives to address historical and cultural erasures and neglect. I would argue this can be achieved through what Maura Reilly terms ‘curatorial activism’ (2018: 22), discussed shortly. Podcasting can animate already existing archives, and create new ones, and by doing so address historical oversight in terms of the cultural spaces they are in dialogue with. This ‘narrative correction’, as Ashley Clark calls contemporary film curation practice (2019: 09: 05), creates the opportunity for previously unheard voices to engage with previously under-serviced audiences. In this vein, this chapter considers podcast curation a potentially political act. Podcasts often contain, consciously or not, an enunciation of ideological positioning or critique, through the content and form of their work. I begin by unpacking some of key insights regarding the aims and possibilities of curatorial activism within the broader context of curation, and its potential applications to the medium of podcasting. This is followed by the transcription of an interview with the hosts of Projections Podcast, in which the potential enactments of curatorial activism within their podcasting practice is explored
Red Lake / Black Mine - Audio Visual Artwork.
No full textRed Lake / Black Mine is a new multimodal work by composer and visual artist Will Parker - formed by walking, digging and collecting in an area of inland Cornwall referred to as the ‘Carnon Valley’. A trapezoid of land enclosed by the A30, A39, A390 and A393 roads. The title is derived from Baldhu (translation black mine) and Wheal Maid, a former arsenic and copper mine, where the toxic drainage water has formed a crimson lake.
The work exists in correlative forms: album, book, video and performance. A contemplative communion of sounds, images and text, interwoven from conversations, police reports, buried books, newspaper articles, historical sources and personal journals. Unearthing narratives, abstracted themes and emotional forces.
Offering a delicate, fragmented sound world with an intense ASMR-like proximity to the body - Red Lake / Black Mine is a confluence of diverse sonic materials. Modular synthesis meets environmental sounds, deconstructed hymns, opera and VLF recordings of pylons
SCANITAS:lab
No full textFollowing on from SCANITAS, Tom Milnes’ solo show at Studio KIND, SCANITAS:lab presents in-process experiments in 3D sculptural and 2D printed works that uncover the nature of 3D-scans and spatial imagery. Exploring the transience of three dimensional imaging methods through the laboratory format, works evolve within the gallery space – highlighting the technology’s limitations in its ability to capture form and space.
Through these evolving works, Milnes explores thematics of glitched still-life imagery as a contemporary take on 17th century Flemish ‘vanitas’ artworks. These works included objects such as exotic fruits in decaying states, precious metal and glass craftware, beautiful dying flowers, and skulls which hold a symbolic significance in their representation of the ephemerality of life. Vanitas works continue to hold high cultural significance – dealing with the duality of human transience whilst providing methods for revealing technological fallibility.
In SCANITAS:lab, the works produced use scans of objects reminiscent of those that appear in the original vanitas paintings. The photogrammetric technology employed by Milnes is confused by anything transparent, reflective, complex, repetitive, or patterned, so the objects appear glitched and indistinct as the image-making technology struggles to understand them. The resulting sculptures and images are warped and stretched, creating a contemporary vanitas to expose the fragility and temporality of both humanity and technology.
The 3D works are presented as paper sculptures using a technique known as Pepakura, a form of paper craft which takes a 3D model and creates printable, flat nets of the object that can be cut and folded to form a 3D paper sculpture. The printed 2D works include glitched 3D model images and 3D scan textures that create layered collage works; as well as pen-plotted images of 3D-scans and photographic fakes of sculptural works
Handbook of Arts and Health
No full textArts research and practice offer innovation and new solutions for psychiatric and mental health sectors, given conventional methods do not consistently serve the most marginalised groups, those living at the intersections of precarity, and those who find verbal and cognitive tasks too demanding. By drawing on the wider literature and our experience of delivering an arts and health research programme to improve support for young people who had adverse experiences in childhood, we discovered dynamic principles and conceptual and skills competencies that we hope add to the emerging guidance on interdisciplinary research. Vulnerable participants needed support to retain agency and showcase their abilities and strengths, rather than be exposed to potentially extractive and demanding approaches, however well-intentioned these may be. However, this means we needed to attend to struggles to participate and connect, through interdisciplinary skills and competencies; for example, active listening, self-awareness, slow thinking, being vigilant and identifying disconnects, and not assume talking and sharing perspectives is sufficient, without deeper dialogue around contested categories and concepts and ways of working. We moved beyond a multidisciplinary approach, into an interdisciplinary dialogue, which enabled us to create a third transdisciplinary space in some areas of our work
CS2023: ACM/IEEE-CS/AAAI Computer Science Curricula - Specialized Platform Development
Full text linkComputer Science is the foundational discipline of computing that studies the use of computers to systematically solve problems. Our vision for this curricular revision for Computer Science (CS2023) includes the following: (i) the task force will attempt to incorporate an appropriate competency model for computer science in CS2023; (ii) the task force will produce an updated knowledge model of the computer science curriculum in CS2023; (iii) the task force will make every attempt to maintain consistency between the knowledge model and competency model in CS2023; (iv) the task force will produce both a hardcopy document and a live online version of the CS2023 curriculum; (v) the task force will produce richly-researched articles by experts on curricular practices
Special Issue of Women's Writing: 1900-1920
No full textThe period from 1900 to 1920 falls partially into several of the canonical categories used to periodize early twentieth-century literature, yet is often wholly defined by them. Is this the tail end of the fin de siècle? Should these decades be viewed as a gestational waiting space in which the high modernism of the 1920s would soon develop? Should we view them through the largely masculinist lens of a war which did not begin until 1914? Each of these frames embodies an instance of what Raymond Williams termed ‘the selective critical tradition’, rendering huge areas of literary production invisible even as it frames the canon of primary texts which receive the greater majority of our critical attention.
This special issue looks to reframe these first two decades of the twentieth century. In this moment the address of women writers to their readers broadened its focus in a lively publishing landscape. This was a period in which social movements, including the suffrage movement, inspired a wealth of fiction and non-fiction publishing. There was also a tremendous growth in popular weekly magazines in these decades, including new story magazines, many aimed at working women, their desires, and their practical needs. Women novelists wrote for a whole group of new publishers taking advantage of new methods of book production and distribution and new cultures of review. In the present moment examinations of each of these phenomena are often divided by disciplinary boundaries and/or underexamined altogether