315 research outputs found
Print-Process ThreeSix Poster publication
No full textAn edition of 26 posters, in A3, A2 and A1 sizes, concerning the ThreeSix optical/geometric typeface system developed by MuirMcNeil. Designed by Paul McNeil and Hamish Muir.
Output: 26 posters published online at www.print-process.com
ThreeSix (U:D/R 03)
No full textA special edition of Unit Editions design research journal, concerning the ThreeSix optical/geometric typeface system developed by MuirMcNeil. Written and designed by Paul McNeil and Hamish Muir, with an introduction by Wim Crouwel, U:D/R 03 examines ThreeSix in relation to its historical, ideological and typographic contexts. The publication also describes the design process in detail.
This edition was produced in newsprint, single colour litho printing
Book review: Hamish MacCunn (1868-1916): a musical life, by Jennifer L. Oates
No full textBook review of: Hamish MacCunn (1868-1916): a musical life (Music in 19th-Century Britain) by Jennifer L. Oates. Farnham: Ashgate, 2013; ISBN 9780754661832 (£60.00)Publisher PD
The music of Hamish MacCunn (1868-1916): a critical study
No full textApart from a single study of Jeanie Deans, MacCunn's music has, to date, never received a detailed examination. This thesis aims to provide a contextual basis for, and a stylistic analysis of, his major works, and so establish informed criteria by which a truer assessment of MacCunn's significance may be made, challenging the sovereignty of Land of the Mountain and the Flood in the public's reckoning of his compositions and hence revealing it to be not an isolated peak but one summit among many. Hamish MacCunn (1868-1916) grew up in Greenock on the west coast of Scotland before removing to London at the tender age of 15 to further his musical studies at the Royal College of Music. His assimilation of a robust orchestral technique was rapid and before he reached his twentieth birthday he had already tasted the pleasures of public approbation. Thereafter, a sequence of orchestral works, cantatas, songs and two grand operas with a pronounced Scottish character appeared in the late eighties and nineties. It is this period which is the focus of the study, but later works dating from MacCunn's time conducting West End shows are also discussed. Through a generic survey of his output, the thesis locates the composer's works within a historical and biographical framework, isolating characteristic traits both novel and derived from the earlier Nineteenth Century inheritance, and evaluating his position as a composer of his time and afterwards. In particular his strengths and penchants as a composer have been identified with special emphasis on the composer’s bias for dramatic or narrative music, amply demonstrated in his overtures, cantatas and, above all, his two operas Jeanie Deans and Diarmid. To complement the chapters on MacCunn's musical works, an opening biographical chapter, a comprehensive catalogue, a family tree, iconography and bibliography have been provided. Throughout the thesis, reference has been made to primary sources held in Glasgow and other libraries throughout Britain and the United States, in an attempt to arrive at as complete a picture of MacCunn as possible
Freehand three dimensional ultrasound for imaging components of the musculoskeletal system
No full textThere have been reports on the use of Ultrasound (US) for monitoring fracture repair
and for measuring muscle volume. Change in muscle mass is a useful bio-marker for
monitoring the use and disuse of muscle, and the affects of age, disease and injury.
The main modality for imaging bone is X-ray and for muscle volume Magnetic
Resonance (MR). Previous studies have shown US to have advantages over X-ray
and MR. US can image all stages of the fracture repair process and can detect signs
of healing 4-6 weeks before X-ray allowing earlier detection of possible
complications. Compared to MR, US is less resource intensive, easier to access and
also has fewer exclusion criteria for patients.
Despite these advantages, the limited field of view that US can provide results in
high operator dependency for scan interpretation and also for length and volume
measurements.
Three-dimensional Ultrasound (3D US) has been developed to overcome these
limitations and has been used to provide extended field of view images of the foetus
and the heart and to obtain accurate volume measurements for organs.
In this thesis it is hypothesized that 3D US can provide a more comprehensive
method of imaging fracture repair than X-ray and is also a viable alternative to MR
for determining muscle volumes in vivo.
Initially, an electromagnetically (EM) tracked 3D US system was evaluated for
clinical use using phantom-based experiments. It was found that the presence of
metal objects in or near the EM field caused distortion and resulted in errors in the
volume measurements of phantoms of up to ±20%. An optically tracked system was
also evaluated and it was found that length measurements of a phantom could be
made to within ±1.3%.
Fracture repair was monitored in five patients with lower limb fractures. Signs of
healing were visible earlier on 3D US with a notable, although variable, lag between
callus development on X-ray compared to 3D US. 3D US provided a clearer view of
callus formation and the changes in density of the callus as it matured. Additional
information gained by applying image processing methods to the 3D US data was used to develop a measure of callus density and to identify the frequency dependent
appearance of the callus.
Volume measurements of the rectus femoris quadricep muscle were obtained
using 3DUS from eleven healthy volunteers and were validated against volume
measurements derived using MR. The mean difference between muscle volume
measurements obtained using 3D US and MR was 0.53 cm3 with a standard
deviation of 1.09 cm3 and 95% confidence intervals of 0.20 - 1.27 cm3
In conclusion, 3D US demonstrates great potential as a tool for imaging
components of the musculoskeletal system and as means of measuring callus density
Evidence: A Canadian Casebook, 4th ed.
No full textAvailable at Evidence : a Canadian casebook : Stewart, Hamish, author : Free Download, Borrow, and Streaming : Internet Archivehttps://commons.allard.ubc.ca/books/1055/thumbnail.jp
Sensuality, nationality, country:connecting the Muirs, Naomi Mitchison, and Hamish Henderson in Scotland's long renaissance
No full textConnecting the interwar Scottish Literary Renaissance with the mid-century Scottish folk revival in a 'Long Renaissance', this essay seeks to establish the centrality of sensuality to the cultural nationalisms of a group of left-nationalist Scottish intellectuals. It focuses upon the writings of Edwin and Willa Muir, Naomi Mitchison and Hamish Henderson. For them, freely expressed sensuality was integral to authentic Scottish national identity. Henderson is the connector here, and, while his, often antagonistic, relationship with Hugh MacDiarmid has traditionally been viewed as the connection between these two movements, Henderson was also influenced by the works of other Scottish Literary Renaissance writers, in particular Willa Muir and Naomi Mitchison. The Muirs and Mitchison claimed that remnants of a native pre-Scottish Reformation sensual Scottishness had survived in rural Scotland via its folk culture, and Henderson took up this idea. By exploring this group's theories about sensuality and location through memoir, novels, poetry, and travelogue, we find that there was neither cohesive political nor cultural Scottish nationalisms during this time. In so doing, we may identify the cultural pre-history of the left-wing, post-Calvinist Scottish nationalisms that emerged during the late 1960s, and shaped modern Scottish nationalisms today
8vo On the Outside
No full textMuir co-authored and designed the book ‘8vo On the Outside’ published by Lars Muller, 2005 ISBN 3-03778-019-3 with Mark Holt, a founding member, with the researcher, of the independent design company 8vo. ‘8vo On the Outside’ survey and explains the design rationale of 8vo from 1984 to 2001.
The design emphasises the narrative sequence of the company’s design work. The small format of ‘8vo On the Outside’ facilitates the focus on this rather than the layout of spreads. Grey is used throughout to harmonise the volume, on the one hand to frame examples of the process of creating typographic and graphic design and on the other (white on grey) to avoid letting the text overwhelm the design. The book is intended to show the transition from print to computer and then a partial return to print as 8vo, in common with many of its contemporaries, were working at a time of considerable technological/production change –from paste-up to desktop followed by a return to basics.
As a result of ‘8vo On the Outside’, the researcher was invited to present the research at Profile Intermedia 8 (Achtung! Dangerous Ideas at Work) at Bremmen, Germany, 9-11th December 2005.
‘8vo On the Outside’ was reviewed in a number of publications including Creative Review (January 2006) which featured a cover design by the researcher and Eye (Spring 2006) text by Anna Gerber. The researcher also wrote a background analysis of the research for Grafik (October 2005)
Author in waiting : self-portrait of Peter Goldsworthy as a boy
No full textReview of His Stupid Boyhood by Peter Goldsworthy (Hamish Hamilton, 2013)
Self-consciousness and the image of self in the poetry of Stephen Spender, 1928 to 1934
No full textThe purpose of this thesis is twofold. First, to demonstrate the value and significance of Spender's early poetry in terms of its vision and technique. Through a series of close readings the thesis traces the ways in which Spender's early poetry not only shows itself to be self-conscious but also manipulates images of self. Presenting images of self, Spender achieves a balance between engagement with and distance from the self, and the reader shares in the process of poetic self-awareness. Secondly, to demonstrate the broader value of the poetry. Spender's poetry presents a distinctive exploration of the possibilities of self in relation to the external world. The resolution of Spender’s questioning and selection of both personal and public values, rooted in his contemporary situation and private circumstances, in his poetry takes the form less of historical document than of human record. The period on which I focus, 1928 to 1934, represents Spender’s first, and arguably most significant, poetic phase. The thesis is specifically concerned with four texts: Nine Experiments. Spender's contributions to Oxford Poetry (1929 and 1930), Twenty Poems and Poems (1933 and 1934). Nine Experiments marks the beginning of a particular approach and lyric style which finds its culmination in Poems (1933 and 1934). The earliest poetry is interesting largely insofar as it looks forward to later themes and techniques. In Nine Experiments and Oxford Poetry (1929 and 1930) we see Spender's often successful struggle to achieve effective forms in which to explore issues of self and value. Twenty Poems and Poems (1933 and 1934) concentrate on themes of love and friendship and the pressure on the poet of the contemporary political scene. The poetry does not reconcile the demands of the external, public world with his inner desires and aspirations, but presents a series of fascinatingly unresolved tensions. The thesis explores the way these poems strive for certainty. This striving stems from the tension between Spender's desire to politicize poetry and his tendency to the lyrical, personal statement
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