1,477 research outputs found
Lorin Holmes and Lynn Angus
No full textLorin Holmes, Rick Bell and Lynn Angus take a break during an FFA trip
A Crossing Bell
No full text"A Crossing Bell" was an installation commissioned as part of the inaugural edition of Estuary Festival, a biennial large-scale curated public art event. The broad curatorial agenda invited reconsideration of social and cultural contexts through which we navigate waterways such as the Thames.
The interpretation text located next to "A Crossing Bell" gives some sense of its intended scope: "Installed near the Tilbury ferry within a custom-built wooden shelter that offers views over the wide river, the engraved bell is there to be rung by passengers and festival-goers as they offer their prayers for a crossing (their own or someone else’s, a friend’s or a stranger’s, a crossing here at the Thames or one that lies further afield). The aspiration is that the bell transform the short journey on the openness of the swift-flowing river and suggest other crossings, other times and other places; its un-amplified peals finding their place amongst engine noise, the cries of white feathered gulls, voices and the soundings of the Thames itself".
An important personal motivation for the creation of the original work was to respond - in however oblique a fashion - to my sense of horror invoked by news stories accounting for the drowning of migrants on their journeys to Europe's shores. "A Crossing Bell" also connected to the long history of bells as sonic signifier's of warning and celebration in sacred and secular settings.
The bell was specially cast for me by the Whitechapel Bell Foundry, at that time, Europe's longest continually operating foundry.
When the bell was subsequently commissioned for the "What Has To Be Done" exhibition at the Today Art Museum Beijing, the structure was reconfigured from its original connections to Essex coastal architecture (the bell tower re-used planks sourced from Southend Pier) to echo the red painted wood, columns and crossbars I remembered from the Lama / Yonge Temple. Equally, the new structure might be seen less in context of migrants on the passage to Europe and more in terms of those wider contexts - thus potentially in dialogue with what Don Ihde spoke of in "Listening and the Voice": "Ancient Chinese acoustics long ago recognised that there was sound beyond human hearing. Touching bells when sound had disappeared still yielded tactile perception of vibrations".
"A Crossing Bell" was mentioned in the Independent newspaper, the Thurrock Gazette, Artists' Newsletter and on BBC Radio 6 and had an article dedicated to it in the Southend Echo
James Angus Chisholm
No full textFormerly of Lowell, Mass. and Heatherton. He was a construction foreman for Bell Telephone Company for many years. Aug. 28, 1985
Autumn leaves : sound and the environment in artistic practice
No full textThis publication is a book that represents an innovative, international and multi-disciplinary approach to conceptualising the dynamic relationships between sound and the environment. The editorial process involved directly commissioning textual, graphic and photographic work. The vast majority of the book represents new work, produced specifically for this publication. For the purposes of tracing historical development, an article from 1974 and three older projects have been revived and recontextualised. In addition to the editorial responsibility, the researcher wrote the introduction and conducted three original interviews. The book draws work from visual, sound and performance art, acoustic science, anthropology, cultural studies, public policy, and architectural theory. Just as it is true to say that these disciplines have not previously been brought together in this way, equally, it is no exaggeration to identify the contributors as the leading international lights in the field: Chris Watson, Tim Ingold, Hildegard Westerkamp, Christina Kubisch, Alvin Lucier, David Toop. The book is published by Double Entendre, the French publisher of the premier sound arts journal, Vibro. The book is accompanied by an audio compilation published by the German record label, Gruenrekorder (Gruen 053). www.autumn-leaves.gruenrekorder.de. The researcher co-curated the compilation, selecting relevant work that illustrated the book’s themes. The book was the catalyst for a one-day symposium at the Tate Britain called The Performance of Sound (May 19th, 2006), which the researcher co-organised. The researcher was invited to speak on the book at the Audio Extranautes: Flux, Distance, Sociability symposium at the Villa Arson in Nice in December 2007. Autumn Leaves has been reviewed in the French journal Mouvement; in MCD where the reviewer reported that “this book deserves to be translated into French”; and Soundscape: The Journal of Acoustic Ecology. Soundscape 7 (1), Autumn, 2007 reprinted an interview conducted by the author from the book. Autumn Leaves, edited by CRiSAP co-director Angus Carlyle, seeks to draw together a number of different perspectives on how the environment is made audible through sound. The perspectives contained in the book are made manifest through more traditional textual analyses, interviews, image-based works (both photography and graphic illustration) and ‘artist’s pages’ (which combine different registers of information).
Among the articles included in the book are a superb deconstruction of the concept of soundscape by anthropologist Tim Ingold; an intriguing analysis of sound from an acoustic point-of-view (or point-of-audition) by Bill Davies; Steve Goodman’s dynamic opening up of city sound to a bass materialism provoked by Greg Lynn’s ‘blob’ architecture; Salome Voegelin’s evocative mapping of sci-fi aesthetics onto the project of acoustic ecology; a wonderful meditation on the heard and the unheard by David Toop; Sylvain Marquis powerfully drawing out the ‘presence’ of Phill Niblock; Rahma Khazam finding new ways of listening through an inspired conceptual conversation between art, architecture and relational aesthetics; and a re-print of Hildegard Westerkamp’s pioneering discussion of soundwalking from 1974.
Interviews include a wide-ranging discussion with Alvin Lucier about his work and working practices; an exploration of Christina Kubisch’s long-standing commitment to teasing out the complexities of the sounds that surround us; Peter Cusack providing an exciting account of his Sound of Dangerous Places project; Chris Watson talking us through his inspirational field-recording; and Max Dixon offering fresh perspectives on how the development of strategies for noise in urban environments meshes policy with research into bio-acoustics, acoustics and creative practice.
Images include Dan Holdsworth’s haunting representations of anechoic chambers through Charles Fox’s photographs of microphone arrays in the wilderness, Axel Stockburger’s ASCII art evocations of video-game space and Nicholas Gansterer’s intricate diagrams of our heard world.
What remains of the book is devoted to the artists’ pages. In these a whole host of contemporary practitioners spanning the disciplines of graphic design, music, photography, performance and visual art offer their provocative takes on sound and the environment. Here we encounter John Wynne and Tim Wainwright presenting their collaborative work in Harefield Hospital; Aki Onda pursuing his Cinemage project; Claudia Wegener finding poetry in ear- and eye-witnessing; an unpacking of the theories and technologies behind the exciting Locus Sonus audio streams; NYSAE opening up its portfolio of acoustic ecology-inspired activities; Goran Vejvoda mobilising a modular manifesto from his three decades of sound art; the Gruenrekorder label reviewing the thinking behind its 40 releases; Jem Finer show-casing his Score For A Hole in the Ground; Cathy Lane mapping her memories of the Hebrides; Zoe Irvine making an art of places out of abandoned audio tape; and Mira Choi introducing her noise-responsive graphic software.
The editorial work and its presentation has been a collaborative venture with the designer Ian Noble.
Autumn Leaves is CRiSAP's first book and is edited by CRiSAP Co-Director Angus Carlyle[/b] and published by the exciting French sound art initiative Vibro / Double Entendre. It contains work by a variety of artists including several of CRiSAP's members - Salomé Voegelin, John Wynne, Peter Cusack, Cathy Lane and David Toop
George Angus standing in front of the Hedley Bakery
No full textGeorge Angus standing in front of the Hedley Bakery, Scott Street The sign reads: "Hedley Bakery Breads, Cakes, Pastry." Note: over his left shoulder can be seen the Hedley fire bell mounted in a stand on the old Collins Department Store. Stemwinder Mountain in the background
The forgotten first: John MacCormick's 'Dùn-Àluinn'
No full textThe first Gaelic novel, John MacCormick's Dùn-Àluinn, no an t-Oighre 'na Dhìobarach, was serialised in the People's Journal in 1910 before being published in its entirety in 1912. Within a year of the publication of Dùn-Àluinn as a novel the second Gaelic novel, Angus Robertson's An t-Ogha Mòr, appeared in print, underlining the renaissance which Gaelic literature was experiencing. Both novels, while remarked upon by contemporaries and by general studies of Gaelic literature, have been all but ignored to date, with no criticism or analysis of either having been published. The main aim of this article is to offer some general comments about MacCormick's Dùn-Àluinn and thus to open up both the novel and indeed other early twentieth-century Gaelic writers and their work to further scrutiny. Consideration will be given to the author himself, the contemporary Gaelic literary scene and finally some of the more interesting aspects of the novel itself
An accountability model for Pakeha practitioners
No full textThis paper outlines a model of accountability for Pakeha practitioners developed over many years
as a practising community psychologist involved in research and development projects in Aotearoa
in the 1980s and 1990s, during an era of contract-funded health projects, and increasing
prominence of the Treaty of Waitangi2. The model could be termed 'transformative' in that it
reverses the usual flow of power by making the Pakeha practitioner accountable to relevant Maori
authority, and maximises the potential for new outcomes and new learning for all parties. A brief
case study is outlined where the model placed a local iwi governance structure and a national
psychiatric survivor organisation in positions of authority alongside the funder of a mental health
project. Helpful conditions, positive outcomes and barriers to transformative accountability
processes are briefly discussed
Residential child care in Scotland : themes for practice since Another Kind of Home
No full textIn this very personal account, Angus Skinner, former Chief Social Work Adviser to Scottish Ministers, and author of Another Kind of Home (1992), a review of residential child care in Scotland, considers enduring themes for practice and leadership. Along with good communication, good education, and training for staff and managers, he concludes that state care needs to develop the capacities to love and be loved
BBC Radio 3 - Free Thinking - Running
No full textWe've been running for two million years give or take. Shahidha Bari and Laurence Scott explore contemporary running as solitary inspiration and communal activity with the Geographer and 1999 Scottish Hill Running Champion, Hayden Lorimer, the artists Kai Syng Tan and Angus Farquhar, and the literary scholar and bare-foot artiste, Vybarr Cregan-Reid. Conversation ranges from feeling empowered on city streets to teaming up with the wind to the horrid history of the treadmill and explore whether Running deserves better representation in the arts.
Guests: Vybarr Cregan-Reid - author of Footnotes How Running Makes Us Human
Angus Farquhar, Creative Director of NVA Public Art, author of a blog 'The Grim Runner'
Hayden Lorimer Running Geographer
Kai Syng Tan, Artist and curator of a biennial festival Run Run Run
Producer: Jacqueline Smith
Effectiveness of mood stabilizers and antipsychotics in the maintenance phase of bipolar disorder: a systematic review of randomized controlled trials
No full textBackground:? Bipolar disorder (BD) is a leading cause of disability. Systematic reviews of randomized trials for the treatment of the maintenance phase of BD are lacking.Objectives:? To determine the efficacy and tolerability of mood stabilizers and antipsychotics in the maintenance treatment of BD.Methods:? We systematically reviewed randomized controlled trials of licensed medications for the treatment of any phase of BD. We included randomized controlled trials comparing a medication to placebo or another medication. Comprehensive searches of electronic databases were conducted to March 2005. Outcomes investigated were relapse due to mania, depression or any mood episode, and withdrawal due to any reason or due to an adverse event. Data were combined through meta-analysis.Results:? Fourteen studies (n = 2,526) met the inclusion criteria. Lithium, lamotrigine, olanzapine and valproate semisodium each demonstrated evidence to support long-term use. Compared with placebo, all medications were more effective at preventing relapse because of any mood episode. Hazard ratios (HR) were 0.68 [95% confidence interval (CI) = 0.53–0.86] for lithium, 0.68 (95% CI = 0.55–0.85) for lamotrigine, and 0.82 (95% CI = 0.57–1.20) for valproate semisodium; for olanzapine, the risk ratio (RR) was 0.58 (95% CI = 0.49–0.69). Lithium and olanzapine significantly reduced manic relapses (HR = 0.53; 95% CI = 0.35–0.79 and RR = 0.37; 95% CI = 0.24–0.57, respectively). Lamotrigine and valproate semisodium significantly reduced depressive relapses (HR = 0.65; 95% CI = 0.46–0.91 and RR = 0.40; 95% CI = 0.20–0.82, respectively). Lithium significantly reduced manic relapses compared with lamotrigine (HR = 0.56; 95% CI = 0.34–0.92) and olanzapine significantly reduced manic relapses compared with lithium (RR = 1.69; 95% CI = 1.12–2.55). Withdrawal due to an adverse event was approximately twice as likely with lithium compared with valproate semisodium (RR = 1.81; 95% CI = 1.08–3.03) and lamotrigine (RR = 2.20; 95% CI = 1.31–3.70). There were few data for carbamazepine or medications given as adjunct therapy.Conclusions:? Mood stabilizers have differing profiles of efficacy and tolerability, suggesting complementary roles in long-term maintenance treatment.<br/
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