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Immersive visual music: how contemporary visual music practices have evolved and how immersive technologies can be employed to compose visual music works
Get PDFThis thesis explores contemporary visual music and its evolution. It addresses recent
trends and explores audio-visual relationships, practices, and aesthetics. Visual music has a
long tradition of negating representational elements in relation to sound, image, and space,
to the degree that the term is often used interchangeably with abstract animation and
absolute film. In recent years, immersive experiences have become more prevalent as an
aesthetic tendency in art practices and media. This shift towards representation, reality,
interactivity, simulation, and immersion has often been directed by new and available
technologies. The research presented here investigates how immersive technologies can be
employed effectively to compose visual music artwork and explores whether the shift to
immersive technologies that seem to naturally emphasise representation is likely to raise a
challenge regarding the traditional abstraction of visual music. This study consists of both practice and qualitative research. The literature and
contemporary practice review investigate visual music's evolution and current field by
discussing key theories and practices. This investigation includes identifying image and
sound-making techniques, technologies and media that can be experimented with in the
immersive visual music practice.
Supplementary interviews conducted with experts in the field of visual music provided
important insights into the process, tools and methodologies used in contemporary visual
music. The data extracted from these interviews and their analysis played a significant role in the creation of a new framework of visual music classifications, which is part of my
contribution to the field.
The insights, when compared with the secondary research, identified gaps or less
explored areas in the visual music practice and guided the direction of my visual music
practice submitted for this thesis. This practice involves experimenting with immersive
technologies and representational aesthetics. A series of experiments were conducted to
explore different technologies and practices identified in the research on producing
immersive visual music. By observing and comparing the experiments, several principles of
effective practice were proposed. A final piece incorporating these principles was produced
to demonstrate how immersive technologies can be effectively employed in creating
immersive visual music
Romantic cruxes reimagined
No full textOur understanding of British Romanticism has long been weighted heavily in favour of the many achievements of its poets. The Oxford Handbook of British Romantic Prose vigorously contests this perception by revealing the many ways in which scholars are reassessing delineations of Romanticism in order to include and comprehensively evaluate the accomplishments of its nonfiction prose writers. The Handbook contains fifty-four chapters divided into eight sections, and reveals the immense variety and exuberance of British Romantic nonfiction prose. It brings together texts from the celebrated through the marginalized to the almost entirely forgotten. It assesses the interactions—often vexed, sometimes deeply congruent—between Romantic poetry and nonfiction prose, and between Romantic fiction and nonfiction. It reimagines comparisons, confronts paradoxes, considers historical and contemporary methodologies, and suggests future lines of inquiry. Throughout the focus is on cogent expression rather than abstruse observation, and on chapters that contain, not dutiful surveys, but engagingly evaluative assessments
Transformational inclusion: engaging our Deaf and Disabled communities for transformational inclusion
No full textAs part of the plenary on creative working practices, Dr Tanvir Bush reflected on her experiences of research. She showed how taking a new approach can transform who is included and the quality of the work
Bayesian comparative judgement: a new approach to enhancing accuracy in ranking pairwise comparisons
No full textThe best way to bury your husband
No full textSally never meant to cave her husband's head in with a skillet. Or at least she didn't until suddenly, she did.
But Sally isn't the only woman in town being pushed to breaking point. When coincidence brings four strangers together, a surprising solidarity is formed.
So can they find the best way to bury their husbands - and get away with it
Curvilinear relationships between age and job performance and the role of job complexity
Get PDFDespite suggestions that work performance varies with age, the empirical evidence is inconclusive and contradictory. Possible reasons for this are the lack of differentiation between different types of performance and a naive assumption of a negative linear relationship between age and task performance across the working lifespan. With this study we question and revisit these expectations. We take a lifespan perspective to explore differential and curvilinear relationships between age (measured as chronological age) and three types of task performance (task proficiency, proactivity, and adaptivity), moderated by job complexity (measured as cognitive demands). Using Bayesian polynomial regression on survey data from 903 employees, we tested the relationships between age and each performance type, with job complexity as a moderator. The data indicated a U-shaped age–adaptivity relationship (main effects for job complexity) and an S-shaped age–proactivity relationship that was more pronounced under low job complexity (interaction effect). We identify the turning points for these changes, which show midlife as a critical period for changes in performance where the job context itself shapes the gradient and direction of these changes. Our findings provide crucial evidence that different types of job performance vary by age and the role of perceived job complexity in explaining trajectories in proactivity and adaptivity. Implications for job design, organizational interventions, and human resource management are discussed
Beyond the single story of climate vulnerability
Get PDFHealth. Disability. Vulnerability. These words are often used when discussing the risks of climate disruption. These discussions warn of the potential for climate impacts to “undermine 50 years of gains in public health” (as stated by the Lancet Countdown on Climate Change). Increasingly, such discussions also acknowledge climate injustice, examining who will benefit or lose out from climate change, how and why. The embodied vulnerability of disabled people is often assumed within such discussions, with less consideration of the social, economic or political conditions that create this vulnerability.
By bringing disability justice and disability studies into correspondence with care, environmental and climate justice scholarship, this reflective paper challenges the master narratives that blur differentiated experiences of disability and climate impacts into a single story of inevitable vulnerability. Recognising disabled people as knowers, makers and agents of change, it calls for transformative climate action, underpinned by values of solidarity, mutuality and care
Pauses - Inventory of Behaviours
No full textInventory of Behaviours (IOB) is an evolving artwork consisting of instructions written by artists that detail how to reproduce their behaviours in the studio.
Preliminary research through IOB has revealed that artists’ encounters with matter, with concepts, with process (production) are frequently prefaced, punctuated and concluded by apparently unrelated and often habitual activity (peripheral). External factors such as financial imperatives, domestic responsibilities and physical and mental wellbeing are influential in the formation of these. It is common for artists to engage in preparatory, and sometimes diversionary, activities that directly inform the creative processes of art-making. These comprise a broad range of types, which can be found in multiple individuals and, therefore, categorised. However, despite their universality and pervasiveness, such peripheral activities, behaviours and habits within cultural production have been largely ignored in pedagogy and by scholarly research as the subject of systematic investigation.
IOB is predicated on the idea that there are currently overlooked opportunities that can be afforded by looking more carefully at artistic processes and that a wider examination of these could be of value, not just to artists and related disciplines but beyond. A better understanding of the real contemporary activities of artists and the imperatives that shape them has the potential to inform new and current narratives around artistic creativity, how it can be taught, applied, who can do it and what the benefits are to society more broadly, for instance in respect of health and wellbeing, equality and diversity, employment, and education.
For Doing Together 2024, IOB introduced x3 spaces to PAUSE. IOB invited participants to use materials and autotelic actions to reflect on and share their own periphery behaviours
Thin places, other worlds, and visual layering in cinema
No full textThe depiction of the supernatural in cinema dates back to the earliest days of the medium, with a pioneering example being Georges Méliès’ Le Repas fantastique in 1900. This film displays a ghostly figure interfering with a family’s meal through the cinematic technique of superimposition. The supernatural is therefore conveyed through a second visual layer, simultaneously of the image, yet not of the world it portrays. This can be traced further back to double exposures in trick photography and magic lantern shows. From Méliès to the modern day, superimposition has allowed for worlds to collide, whether in modern horror, silent drama, or experimental cinema. The idea of the superimposition of two visual layers as the interaction between two distinct worlds turns the cinematic image into a “thin place” where the worlds of our everyday and the supernatural can intermix. This article will detail this cinematic tradition and explore the possibilities of this concept. It will question how filmmakers have interpreted the possibilities of layering reality, and how they have attempted to replicate the psychological feeling of the uncanny into a visual experience