"The pride of noise": drums and their repercussions in early modern England

This article draws on a wide range of literary and archival sources in order to explore the cultural resonances of drumming in England during the 16th and 17th centuries. It concentrates not on instrument design and playing techniques but on the varied meanings that contemporaries attached to the ubiquitous sound of the drum. The discussion begins and ends with the unmistakable military associations of drumming. In between, consideration is also given to a range of interconnected but sometimes contradictory resonances that appear to have endowed drums with considerable cultural significance. Drums spoke, for example, of authority and they worked hard to impose order in urban streets. They also played their part in the contemporary culture of punishment, and many miscreants were subjected to the humiliation of public percussion. Beyond this, drums were particularly potent in their ability to express masculinity, and female drummers were rare and remarkable. The primal potency of the instrument also rendered it valuable to the insubordinate, and rioters—like soldiers— were regularly called together 'by the drum'. Lastly, the sound of the drum was sometimes intensely festive and could also be used to publicize special events such as dramatic performances and the display of curiosities. The repercussions of drumming were thus varied, and confusion sometimes resulted when the different possibilities became entangled.

Music, Magic, and the Mythic: The Dynamics of Visual and Aural Discourse in Souleymane Cissé’s Yeelen

The 1980s saw a wave of African films that aimed to represent, on both local and international screens, a sophisticated pre-colonial Africa, thus debunking notions of the continent as primitive. Toward this aim the films inscribed the conventions of oral performance within their visual styles, denying spectator identification with the protagonists and emphasising the presence of the narrator. However, some critics argued that these films exoticised Africa, while their use of oral performance’s distancing effect echoed the ‘scientific’ distance structured by the ethnographic film, in which African societies were represented as ‘the other’. Souleymane Cissé’s Yeelen exemplifies this tension, transposing into cinematic form oral storytelling techniques in the depiction of a power struggle within the covert cult of the komo, a Bambara initiation society unfamiliar to most non-Bambara viewers. This paper demonstrates how the film negotiates this tension via music, which interpellates the international spectator by eliciting a greater identification with the protagonists than that determined at a visual level, while encoding a verisimilitude to rituals that may otherwise be read as the superstitious practices of ‘the other’. In this way, music and image in Yeelen operate as parallel, though often overlapping, discourses, bridging the gap between the film’s culturally specific narrative and formal components, and its international spectators.

The Pontydian Performance:the performative layer

In this paper we reflect on the performer-instrument relationship by turning towards the thinking practices of the French philosopher Maurice Merleau-Ponty (1908-1961). Merleau-Ponty's phenomenological idea of the body as being at the centre of the world highlights an embodied position in the world and bestows significance onto the body as a whole, onto the body as a lived body. In order to better understand this two-way relationship of instrument and performer, we introduce the notion of the performative layer, which emerges through strategies for dealing with discontinuities, breakdowns and the unexpected in network performance.

Digital Musical Interactions: Performer-System Relationships and their Perception by Spectators

This article adopts an ecological view of digital musical interactions, first considering the relationship between performers and digital systems, and then spectators’ perception of these interactions. We provide evidence that the relationships between performers and digital music systems are not necessarily instrumental in the same was as they are with acoustic systems, and nor should they always strive to be. Furthermore, we report results of a study suggesting that spectators may not perceive such interactions in the same way as performances with musical instruments. We present implications for the design of digital musical interactions, suggesting that designers should embrace the reality that digital systems are malleable and dynamic, and may engage performers and spectators in different modalities, sometimes simultaneously.

THz Frequency Selective Surface Filters for Earth Observation Remote Sensing Instruments

The purpose of this paper is to review recent developments in the design and fabrication of Frequency Selective Surfaces (FSS) which operate above 300 GHz. These structures act as free space electromagnetic filters and as such provide passive remote sensing instruments with multispectral capability by separating the scene radiation into separate frequency channels. Significant advances in computational electromagnetics, precision micromachining technology and metrology have been employed to create state of the art FSS which enable high sensitivity receivers to detect weak molecular emissions at THz wavelengths. This new class of quasi-optical filter exhibits an insertion loss

High-precision transit observations of the exoplanet WASP-13b with the RISE instrument

WASP-13b is a sub-Jupiter mass exoplanet orbiting a G1V type star with a period of 4.35 d.The current uncertainty in its impact parameter (0 < b < 0.46) results in poorly definedstellar and planetary radii. To better constrain the impact parameter, we have obtained highprecisiontransit observations with the rapid imager to search for exoplanets (RISE) instrumentmounted on 2.0-m Liverpool Telescope. We present four new transits which are fitted witha Markov chain Monte Carlo routine to derive accurate system parameters. We found anorbital inclination of 85. ◦ 2 ± 0. ◦ 3 resulting in stellar and planetary radii of 1.56 ± 0.04 Rand 1.39 ± 0.05RJup, respectively. This suggests that the host star has evolved off the mainsequence and is in the hydrogen-shell-burning phase.We also discuss how the limb darkeningaffects the derived system parameters.With a density of 0.17ρJ,WASP-13b joins the group oflow-density planets whose radii are too large to be explained by standard irradiation models.We derive a new ephemeris for the system, T0 = 245 5575.5136 ± 0.0016 (HJD) and P =4.353 011 ± 0.000 013 d. The planet equilibrium temperature (Tequ = 1500 K) and the brighthost star (V = 10.4mag) make it a good candidate for follow-up atmospheric studies.

A comparative study of qualitative immunochemical screening assays for the combined measurement of T-2/HT-2 in cereals and cereal-based products

Many different immunochemical platforms exist for the screening of naturally occurring contaminants in food from the low cost enzyme linked immunosorbent assays (ELISA) to the expensive instruments such as optical biosensors based on the phenomenon of surface plasmon resonance (SPR). The primary aim of this study was to evaluate and compare a number of these platforms to assess their accuracy and precision when applied to naturally contaminated samples containing HT-2/T-2 mycotoxins. Other important factors considered were the speed of analysis, ease of use (sample preparation techniques and use of the equipment) and ultimately the cost implications. The three screening procedures compared included an SPR biosensor assay, a commercially available ELISA and an enzyme-linked immunomagnetic electrochemical array (ELIME array). The qualitative data for all methods demonstrated very good overall agreements with each other, however on comparison with mass spectrometry confirmatory results, the ELISA and SPR assay performed slightly better than the ELIME array, exhibiting an overall agreement of 95.8% compared to 91.7%. Currently, SPR is more costly than the other two platforms and can only be used in the laboratory whereas in theory both the ELISA and ELIME array are portable and can be used in the field, but ultimately this is dependent on the sample preparation techniques employed. Sample preparative techniques varied for all methods evaluated, the ELISA was the most simple to perform followed by that of the SPR method. The ELIME array involved an additional clean-up step thereby increasing both the time and cost of analysis. Therefore in the current format, field use would not be an option for the ELIME array. In relation to speed of analysis, the ELISA outperformed the other methods.

Compost city: underground music, collapsoscapes and urban regeneration

This paper looks at the recent history of Hulme, Manchester, which during the 1980s was home to many of the most successful bands of the post-punk era. This flourishing of underground music was not planned, however. It emerged, through a complex network of urban forces, some physical, some social. The paper develops the concept of the ‘compost city’ a laissez-faire approach to the management of urban culture, which is oppositional to the current vogue for more hands-on cultural industries management.

Estimation of Clarinet Reed Parameters by Inverse Modelling

Analysis of the acoustical functioning of musical instruments invariably involves the estimation of model parameters. The broad aim of this paper is to develop methods for estimation of clarinet reed parameters that are representative of actual playing conditions. This presents various challenges because of the di?culties of measuring the directly relevant variables without interfering with the control of the instrument. An inverse modelling approach is therefore proposed, in which the equations governing the sound generation mechanism of the clarinet
are employed in an optimisation procedure to determine the reed parameters from the mouthpiece pressure and volume ?ow signals. The underlying physical model captures most of the reed dynamics and is simple enough to be used in an inversion process. The optimisation procedure is ?rst tested by applying it to numerically synthesised signals, and then applied to mouthpiece signals acquired during notes blown by a human player. The proposed inverse modelling approach raises the possibility of revealing information about the way in which the embouchure-related reed parameters are controlled by the player, and also facilitates physics-based re-synthesis of clarinet sounds.

Ethanol (C2H5OH) spray of sub-micron droplets for laser driven negative ion source

Liquid ethanol (C₂H₅OH) was used to generate a spray of sub-micron droplets. Sprays with different nozzle geometries have been tested and characterised using Mie scattering to find scaling properties and to generate droplets with different diameters within the spray. Nozzles having throat diameters of 470 µm and 560 µm showed generation of ethanol spray with droplet diameters of (180 ± 10) nm and (140 ± 10) nm, respectively. These investigations were motivated by the observation of copious negative ions from these target systems, e.g., negative oxygen and carbon ions measured from water and ethanol sprays irradiated with ultra-intense (5 × 1019 W/cm2), ultra short (40 fs) laser pulses. It is shown that the droplet diameter and the average atomic density of the spray have a significant effect on the numbers and energies of accelerated ions, both positive and negative. These targets open new possibilities for the creation of efficient and compact sources of different negative ion species.

Touching at a Distance: Resistance, Tactility, Proxemics and the Development of a Hybrid Virtual/Physical Performance System

This is a paper about resistance and affordance as they relate to music-making in the most extended sense, and perhaps about empathy if this is understood as a capacity to ‘read’ the resistances and affordances of objects, bodies, people and environments. It proceeds from a set of broad working assumptions which inform one individual’s musical practice, via a description a musical-instrument making project which is a hybrid of physical and virtual elements and is designed to test those assumptions, to a speculative finale in which it is suggested that musicking might, in some circumstances, be regarded in itself as a form of resistance. It moves from the intimate and personal, through what might be regarded as local concerns to more global observation, prefiguring the structure of the performance system it describes: the Virtual-Physical Feedback flute