SUPERNOVA 1996cr: SN 1987A's WILD COUSIN?

We report on new VLT optical spectroscopic and multiwavelength archival observations of SN 1996cr, a previously identified ultraluminous X-ray source known as Circinus galaxy X-2. Our optical spectrum confirms SN 1996cr as a bona fide Type IIn supernova, while archival imaging from the Anglo-Australian Telescope archive isolates the explosion date to between 1995 February 28 and 1996 March 16. SN 1996cr is one of the closest SNe (approximate to 3.8 Mpc) in the last several decades, and in terms of flux ranks among the brightest radio and X-ray SNe ever detected. The wealth of optical, X-ray, and radio observations that exist for this source provide relatively detailed constraints on its postexplosion expansion and progenitor history, including a preliminary angular size constraint from VLBI. Archival X-ray and radio data imply that the progenitor of SN 1996cr evacuated a large cavity just prior to exploding: the blast wave likely spent similar to 1-2 yr in relatively uninhibited expansion before eventually striking the dense circumstellar material which surrounds SN 1996cr. The X-ray and radio emission, which trace the progenitor mass-loss rate, have respectively risen by a factor of greater than or similar to 2 and remained roughly constant over the past 7 years. This behavior is reminiscent of the late rise of SN 1987A, but 1000 times more luminous and much more rapid to onset. SN 1996cr may likewise provide us with a younger example of SN 1978K and SN 1979C, both of which exhibit flat X-ray evolution at late times. Complex oxygen line emission hints at a possible concentric shell or ringlike structure. The discovery of SN 1996cr suggests that a substantial fraction of the closest SNe observed in the last several decades have occurred in wind-blown bubbles, and argues for the phenomena being widespread.

Songs of the Seventeenth Century

"Songs of the Seventeenth Century" was published in-house and was the result of an innovative teaching/research project that brought together staff and students in history and music. The package was distributed in other universities and included documents, commentary and new musical recordings (made by QUB students and recent graduates).

An Energy Conserving Finite Difference Scheme for Simulation of Collisions

Nonlinear phenomena play an essential role in the sound production process of many musical instruments. A common source of these effects is object collision, the numerical simulation of which is known to give rise to stability
issues. This paper presents a method to construct numerical schemes that conserve the total energy in simulations of one-mass systems involving collisions, with no conditions imposed on any of the physical or numerical parameters.
This facilitates the adaptation of numerical models to experimental data, and allows a more free parameter adjustment in sound synthesis explorations. The energy preservedness of the proposed method is tested and demonstrated though several examples, including a bouncing ball and a non-linear oscillator, and implications regarding the wider applicability are discussed.

Recomposing the City: A Survey of Recent Sound Art in Belfast

This article introduces examples of recent sound art in Belfast, a city that has undergone radical transformation over the past decade and is home to a burgeoning community of sound artists. The text investigates the ways in which sonic art can redraw boundaries in a city historically marked by myriad political, socioeconomic,
religious and sectarian divisions. The article focuses on sound works that reimagine a “post-conflict” Belfast. These include site-specific sound installations in urban and public spaces, soundwalks, sculptures, locative and online works, and experimental
sonic performances that draw upon traditional Irish song and music.

“A quiet still voice that just touches”: music���s relevance for adults living with life-threatening cancer diagnoses.

Purpose
Music has historically aided health and loss-adaptation, however, cancer patients’ experience of music for self-care is not well understood. This study examines adult cancer patients’ views about music���s role before and after diagnosis.
Methods
Constructivist approach, with grounded theory informed design using convenience, snowball and theoretical sampling. Patients from Australian metropolitan cancer and hospice settings completed demographic questionnaires and participated in semi-structured interviews. Qualitative inter-rater reliability was applied.
Results
Fifty-two patients reported comparable time spent experiencing music pre-post diagnosis. Music may remain incidental; however, many patients adapt music usage to ameliorate cancer’s aversive effects. Patients often draw from their musical lives and explore unfamiliar music to: remain connected with pre-illness identities; strengthen capacity for enduring treatment, ongoing survival (even when knowing “you’re going to die”), or facing death; reframe upended worlds; and live enriched lives. Patients can ascribe human or physical properties to music when describing its transformative effects. Familiar lyrics maybe reinterpreted, and patients’ intensified emotional reactions to music can reflect their threatened mortality. Sometimes music becomes inaccessible, elusive, and/or intensifies distress and is avoided. Families’, friends’ and professionals’ recognition of patients’ altered musical lives and music-based suggestions can extend patients’ use of music for self-care.
Conclusion
Health professionals can support patients by inquiring about their music behaviours and recognising that altered music usage may signify vulnerability. Although commonly recommended, hospital concerts and music broadcasts need sensitive delivery. Patients’ preferred music should be available in diagnostic, treatment and palliative settings because it can promote endurance and life enrichment.

Exploiting local controversy: regional British censorship of Last Tango in Paris (1972)

This article explores local authority responses to the cinematic release of Last Tango in Paris in Britain. Using a range of archival material from the BBFC, the National Archives and the Public Records Office of Northern Ireland, it offers a detailed, comparative case study of three different locations; Belfast, Newport and Oxford. It argues that comparing local censorship decisions with the national decisions of the BBFC offer little in the way of regional nuance. In order to effectively understand the workings of local censorship, a deeper understanding of local discourses is needed as well as acknowledgement of broader pressure group activity and its impact on the local picture, such as that of the National Festival of Light.

Towards a Virtual-Acoustic String Instrument

In acoustic instruments, the controller and the sound producing system often are one and the same object. If virtualacoustic instruments are to be designed to not only simulate the vibrational behaviour of a real-world counterpart but also to inherit much of its interface dynamics, it would make sense that the physical form of the controller is similar to that of the emulated instrument. The specific physical model configuration discussed here reconnects a (silent) string controller with a modal synthesis string resonator across the real and virtual domains by direct routing of excitation signals and model parameters. The excitation signals are estimated in their original force-like form via careful calibration of the sensor, making use of adaptive filtering techniques to design an appropriate inverse filter. In addition, the excitation position is estimated from sensors mounted under the legs of the bridges on either end of the prototype string controller. The proposed methodology is explained and exemplified with preliminary results obtained with a number of off-line experiments.

Expert players accurately detect an opponent's movement intentions through sound alone

Sounds offer a rich source of information about events taking place in our physical and social environment. However, outside the domains of speech and music, little is known about whether humans can recognize and act upon the intentions of another agent’s actions detected through auditory information alone. In this study we assessed whether intention can be inferred from the sound an action makes, and in turn, whether this information can be used to prospectively guide movement. In two experiments experienced and novice basketball players had to virtually intercept an attacker by listening to audio recordings of that player’s movements. In the first experiment participants had to move a slider, while in the second one their body, to block the perceived passage of the attacker as they would in a real basketball game. Combinations of deceptive and non-deceptive movements were used to see if novice and/or experienced listeners could perceive the attacker’s intentions through sound alone. We showed that basketball players were able to more accurately predict final running direction compared to non-players, particularly in the second experiment when the interceptive action was more basketball specific. We suggest that athletes present better action anticipation by being able to pick up and use the relevant kinematic features of deceptive movement from event-related sounds alone. This result suggests that action intention can be perceived through the sound a movement makes and that the ability to determine another person’s action intention from the information conveyed through sound is honed through practice.

Improvisation, Indeterminacy and Game-Mediated Participation in Network Music Performance

This chapter focuses on the relationship between improvisation and indeterminacy. We discuss the two practices by referring to play theory and game studies and situate it in recent network music performance. We will develop a parallel with game theory in which indeterminacy is seen as a way of articulating situations where structural decisions are left to the discernment of the performers and discuss improvisation as a method of play. The improvisation-indeterminacy relationship is discussed in the context of network music performance, which employs digital networks in the exchange of data between performers and hence relies on topological structures with varying degrees of openness and flexibility. Artists such as Max Neuhaus and The League of Automatic Music Composers initiated the development of a multitude of practices and technologies exploring the network as an environment for music making. Even though the technologies behind “the network” have shifted dramatically since Neuhaus’ use of radio in the 1960’s, a preoccupation with distribution and sharing of artistic agency has remained at the centre of networked practices. Gollo Föllmer, after undertaking an extensive review of network music initiatives, produced a typology that comprises categories as diverse as remix lists, sound toys, real/virtual space installations and network performances. For Föllmer, “the term ‘Net music��� comprises all formal and stylistic kinds of music upon which the specifics of electronic networks leave considerable traces, whereby the electronic networks strongly influence the process of musical production, the musical aesthetic, or the way music is received” (2005: 185).