1,721,104 research outputs found
Nina Saunders Meets Sallie Leslie / Hadrian Pigott Meets John Butcher - ACE360.3
No full textPigott in his studio; some of his completed soap carvings, and a motorcycle cast in grey fibreglass. Pigott talking about the sort of person he’d like to make an art-work for. John Butcher, who has opted "for the extremes of new musical improvisation", playing the saxophone. He talks about his work and his experiences. Pigott arriving at Butcher’s house. He shows him one of his pieces, Instrument of Hygiene, a washbasin with taps and related objects in a special carrying-case. Butcher’s VO over footage of himself playing, comparing the experiences of looking at a piece of "difficult" art and listening to "difficult" music. Tour of Butcher’s house, concentrating on Butcher’s own practice room. Butcher saying he has absolutely no idea what Pigott might produce. Butcher and Pigott VOs (Pigott taking some materials to his workshop and himself playing), Butcher saying Pigott shouldn’t worry about whether or not he’s going to like the result, Pigott saying Butcher’s music is "recognisable …unexpected … somewhat unusual" and wants his piece to have some of those qualities. Pigott using latex to make a saxophone-shaped mould; he wants the final object to be recognisable, but also "indistinct". Butcher practising. Pigott doesn’t like his initial result and tries again. Butcher saying he won’t be able to pretend if he likes the result or not. Pigott showing Butcher and his family and friends the finished piece, which he’s called Mute. Credits
Nina Saunders Meets Sallie Leslie / Hadrian Pigott Meets John Butcher
No full textExamples of Nina Saunders’s work: a white padded armchair, an embroidered armchair, a sofa with four arm-rests (The Ladies’ Waiting Room). Nina Saunders talking about her obsession with furniture and the collection she has which she hasn’t yet altered. Talks about two executive swivel chairs. Saunders’s VO over her "bee-keeping" chair; details of the existing upholstery. Bees in a hive; Saunders visiting Dorset bee-keeper Sally Leslie. Leslie wants something colourful and imposing for the middle of her room. Saunders travelling to Dorset; her VO over bees. She arrives at Leslie’s house. Views of the rooms. Saunders shows Leslie photographs of some of her pieces, and describes The Ladies’ Waiting Room. Leslie preparing to smoke a hive. She explains the different activities. Saunders’s VO talking about the experience. Slow motion of bees in flight. Leslie’s living room. They discuss bees’ swarming, and what a swarm would look like. A swarm on a tree. Saunders in her studio. Bee swarm. She makes swarm shapes out of crumpled newspaper. She also starts to add a swarm shape to the chair. Talking about the upholstery fabric she’s going to use. The upholsterer’s workshop. Saunders VO talking about the process. Saunders buttoning the swarming forms. Intercut shots of Leslie gathering honey from a frame, Saunders sewing buttons, and the upholsterer, Constantine Morsteanu, at work. Saunders looking at completed chair. Portland, Dorset. Sally Leslie and her husband, Harry, walking on the beach while Saunders put the work together. Completed installation. The Leslies’ reaction. Pigott in his studio; some of his completed soap carvings, and a motorcycle cast in grey fibreglass. Pigott talking about the sort of person he’d like to make an art-work for. John Butcher, who has opted "for the extremes of new musical improvisation", playing the saxophone. He talks about his work and his experiences. Pigott arriving at Butcher’s house. He shows him one of his pieces, Instrument of Hygiene, a washbasin with taps and related objects in a special carrying-case. Butcher’s VO over footage of himself playing, comparing the experiences of looking at a piece of "difficult" art and listening to "difficult" music. Tour of Butcher’s house, concentrating on Butcher’s own practice room. Butcher saying he has absolutely no idea what Pigott might produce. Butcher and Pigott VOs (Pigott taking some materials to his workshop and himself playing), Butcher saying Pigott shouldn’t worry about whether or not he’s going to like the result, Pigott saying Butcher’s music is "recognisable …unexpected … somewhat unusual" and wants his piece to have some of those qualities. Pigott using latex to make a saxophone-shaped mould; he wants the final object to be recognisable, but also "indistinct". Butcher practising. Pigott doesn’t like his initial result and tries again. Butcher saying he won’t be able to pretend if he likes the result or not. Pigott showing Butcher and his family and friends the finished piece, which he’s called Mute. Credits
Nearly conservative multivalue methods for separable Hamiltonian problems
No full textThis talk investigates the canonical properties of general linear methods for long time integration of Hamiltonian problems. It is known that
the classical symplecticity property is important for the accurate numerical solution of Hamiltonian problems and this is only possible for "canonical"
Runge-Kutta methods. Even if general linear methods cannot be symplectic (see [3]), it is possible to lead them inherit a nearly canonical behavior
from their nonlinear stability properties. This is done by imposing a further algebraic constraint on their coecient matrices, known as G-symplecticity
[1], which is a rst requirement to obtain an accurate conservation of the invariants of an Hamiltonian problem. Special attention will be given to the
numerical treatment of separable Hamiltonian problems: to this purpose, the family of G-symplectic partitioned general linear methods is introduced [2]. Due to their multivalue nature, partitioned general linear methods generate parasitic components of the numerical solution which needs to be properly removed: we discuss how G-symplectic partitioned general linear methods free from parasitism can be constructed. We also consider the eects of G-symplecticity on the order of convergence of the derived methods, by exploiting the theory of B-series. Numerical experiments on a selection of separable Hamiltonian problems are discussed. This is a joint work with J. C. Butcher from the University of Auckland
(New Zealand). [1] J. C. Butcher 2008 Numerical methods for Ordinary Dierential Equations, Second Edition, Wiley. [2] J. C. Butcher, R. D'Ambrosio, Partitioned general linear methods for separable Hamiltonian problems, in preparation. [3] J. C. Butcher and L. L. Hewitt 2009 The existence of symplectic general linear methods, Numer. Algor. 51, 77-84
Bill Hsu/John Butcher/Gino Robair
No full text»Linguistic Margins/Visual Atolls« (Titel nach Günter Brus) ist eine Gruppe audio-visueller Performance-Stücke für improvisierende Musiker und interaktive Animation, die Sprachelemente einer freien Improvisation und Visual Music miteinander vereint. Die visuelle Umgebung entwickelt sich während der Performance, beeinflusst durch gestische und auditive real-time Events. Abstrakte Elemente fließen mit definierten Bildern ineinander und können sich in einer nicht-referentiellen Konfigurationen auflösen. Die aktuelle Auswahl und Reihenfolge der Stücke kann wiederum von neuen Performances abgelöst werden. Das Kernstück enthält Ausschnitte aus den Werken »Flayed/Flock«, »Interstices«, »Spurt/Swell«, »Light Traces« und »Shimmer«.
John Butcher (Saxofon), Bill Hsu (Elektronik, Interaktive Animation) und Gino Robair (Percussion, Elektronik) bilden die Künstlerformation »Phospheme«, die unstabiles Material, das jeder Erkenntnis trotzt, untersucht und zelebriert
Dall’ambiente bancario al mondo accademico: cinque passeggiate nella narrativa del primo Pontiggia
No full textNina Saunders Meets Sallie Leslie / Hadrian Pigott Meets John Butcher - ACE360.2
No full textExamples of Nina Saunders’s work: a white padded armchair, an embroidered armchair, a sofa with four arm-rests (The Ladies’ Waiting Room). Nina Saunders talking about her obsession with furniture and the collection she has which she hasn’t yet altered. Talks about two executive swivel chairs. Saunders’s VO over her "bee-keeping" chair; details of the existing upholstery. Bees in a hive; Saunders visiting Dorset bee-keeper Sally Leslie. Leslie wants something colourful and imposing for the middle of her room. Saunders travelling to Dorset; her VO over bees. She arrives at Leslie’s house. Views of the rooms. Saunders shows Leslie photographs of some of her pieces, and describes The Ladies’ Waiting Room. Leslie preparing to smoke a hive. She explains the different activities. Saunders’s VO talking about the experience. Slow motion of bees in flight. Leslie’s living room. They discuss bees’ swarming, and what a swarm would look like. A swarm on a tree. Saunders in her studio. Bee swarm. She makes swarm shapes out of crumpled newspaper. She also starts to add a swarm shape to the chair. Talking about the upholstery fabric she’s going to use. The upholsterer’s workshop. Saunders VO talking about the process. Saunders buttoning the swarming forms. Intercut shots of Leslie gathering honey from a frame, Saunders sewing buttons, and the upholsterer, Constantine Morsteanu, at work. Saunders looking at completed chair. Portland, Dorset. Sally Leslie and her husband, Harry, walking on the beach while Saunders put the work together. Completed installation. The Leslies’ reaction
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