Revolting Arts or Spatial Democracy: Performances of popular arts during the Egyptian Revolution?

This paper investigates how spatial practices of Public art performance had transformed public space from being a congested traffic hub into an active and animated space for resistance that was equally accessible to different factions, social strata, media outlets and urban society, determined by popular culture and social responsibility. Tahrir Square was reproduced, in a process of “space adaptation” using Henri Lefebvre’s term, to accommodate forms of social organization and administration.205 Among the spatial patterns of activities detected and analyzed this paper focus on particular forms of mass practices of art and freedom of expression that succeeded to transform Tahrir square into performative space and commemorate its spatial events. It attempts to interrogate how the power of artistic interventions has recalled socio-cultural memory through spatial forms that have negotiated middle grounds between deeply segregated political and social groups in moments of utopian democracy. Through analytical surveys and decoding of media recordings of the events, direct interviews with involved actors and witnesses, this paper offers insight into the ways protesters lent their artistry capacity to the performance of resistance to become an act of spatial festivity or commemoration of events. The paper presents series of analytical maps tracing how the role of art has shifted significantly from traditional freedom of expression modes as narrative of resistance into more sophisticated spatial performative ones that take on a new spatial vibrancy and purpose.

Sputtering of oxygen ice by low energy ions

Naturally occurring ices lie on both interstellar dust grains and on celestial objects, such as those in the outer Solar system. These ices are continuously subjected to irradiation by ions from the solar wind and/or cosmic rays, which modify their surfaces. As a result, new molecular species may form which can be sputtered off into space or planetary atmospheres. We determined the experimental values of sputtering yields for irradiation of oxygen ice at 10 K by singly (He+, C+, N+, O+ and Ar+) and doubly (C2 +, N2 + and O2 +) charged ions with 4 keV kinetic energy. In these laboratory experiments, oxygen ice was deposited and irradiated by ions in an ultra high vacuum chamber at low temperature to simulate the environment of space. The number of molecules removed by sputtering was observed by measurement of the ice thickness using laser interferometry. Preliminary mass spectra were taken of sputtered species and of molecules formed in the ice by temperature programmed desorption (TPD). We find that the experimental sputtering yields increase approximately linearly with the projectile ion mass (or momentum squared) for all ions studied. No difference was found between the sputtering yields for singly and doubly charged ions of the same atom within the experimental uncertainty, as expected for a process dominated by momentum transfer. The experimental sputter yields are in good agreement with values calculated using a theoretical model except in the case of oxygen ions. Preliminary studies have shown molecular oxygen as the dominant species sputtered and TPD measurements indicate ozone formation.

Facile synthesis of nanocrystalline LiFePO4/graphene composite as cathode material for high power lithium ion batteries

We describe a simple strategy, which is based on the idea of space confinement, for the synthesis of carbon coating on LiFePO₄ nanoparticles/graphene nanosheets composites in a water-in-oil emulsion system. The prepared composite displayed high performance as a cathode material for lithium-ion battery, such as high reversible lithium storage capacity (158 mA h g^-1 after 100 cycles), high coulombic efficiency (over 97%), excellent cycling stability and high rate capability (as high as 83 mA h g ^-1 at 60 C). Very significantly, the preparation method employed can be easily adapted and be extended as a general approach to sophisticated compositions and structures for the preparation of highly dispersed nanosized structure on graphene. 

Teenagers' Perceptions and Experiences of Belfast as a Divided City

In this ‘research project’ case study, we provide an empirical example of how quantitative and qualitative methods were combined within a single study and discuss some of the strengths and weaknesses of our combined methodology which included questionnaires, photo-prompts and focus-group interviews. Our intention in using mixed methods was to enhance understandings of the meanings of space, place and territory on the everyday lives of young people growing up in Belfast. How do young people negotiate space in politically divided cities such as Belfast? Is territory important, and if so, why is it important? How do we construct an appropriate and relevant study design that can not only describe, but explain what place, space and territory mean to young people, and more importantly, how it impacts on their everyday lives? How useful is it to apply a mixed-methods approach to finding answers to these questions? We explain why and how we used a mixed-methods approach and illuminate some of the issues we encountered. We demonstrate how mixed methods can provide not just complementary but also new insights into the topic under investigation. We hope that the case study encourages you to experiment, or at least consider, the potential of using mixed methods.

Of no fixed form: The Irish Pavilion at Venice 2014 and beyond

This paper explores the theme of exhibiting architectural research through a particular example, the development of the Irish pavilion for the 14th architectural biennale, Venice 2014. Responding to Rem Koolhaas’s call to investigate the international absorption of modernity, the Irish pavilion became a research project that engaged with the development of the architectures of infrastructure in Ireland in the twentieth and twenty-first centuries. Central to this proposition was that infrastructure is simultaneously a technological and cultural construct, one that for Ireland occupied a critical position in the building of a new, independent post-colonial nation state, after 1921.

Presupposing infrastructure as consisting of both visible and invisible networks, the idea of a matrix become a central conceptual and visual tool in the curatorial and design process for the exhibition and pavilion. To begin with this was a two-dimensional grid used to identify and order what became described as a series of ten ‘infrastructural episodes’. These were determined chronologically across the decades between 1914 and 2014 and their spatial manifestations articulated in terms of scale: micro, meso and macro. At this point ten academics were approached as researchers. Their purpose was twofold, to establish the broader narratives around which the infrastructures developed and to scrutinise relevant archives for compelling visual material. Defining the meso scale as that of the building, the media unearthed was further filtered and edited according to a range of categories – filmic/image, territory, building detail, and model – which sought to communicate the relationship between the pieces of architecture and the larger systems to which they connect. New drawings realised by the design team further iterated these relationships, filling in gaps in the narrative by providing composite, strategic or detailed drawings.

Conceived as an open-ended and extendable matrix, the pavilion was influenced by a series of academic writings, curatorial practices, artworks and other installations including: Frederick Kiesler’s City of Space (1925), Eduardo Persico and Marcello Nizzoli’s Medaglio d’Oro room (1934), Sol Le Witt’s Incomplete Open Cubes (1974) and Rosalind Krauss’s seminal text ‘Grids’ (1979). A modular frame whose structural bays would each hold and present an ‘episode’, the pavilion became both a visual analogue of the unseen networks embodying infrastructural systems and a reflection on the predominance of framed structures within the buildings exhibited. Sharing the aspiration of adaptability of many of these schemes, its white-painted timber components are connected by easily-dismantled steel fixings. These and its modularity allow the structure to be both taken down and re-erected subsequently in different iterations. The pavilion itself is, therefore, imagined as essentially provisional and – as with infrastructure – as having no fixed form. Presenting archives and other material over time, the transparent nature of the space allowed these to overlap visually conveying the nested nature of infrastructural production. Pursuing a means to evoke the qualities of infrastructural space while conveying a historical narrative, the exhibition’s termination in the present is designed to provoke in the visitor, a perceptual extension of the matrix to engage with the future.

Choreographies of Irish Modernity

Although movement is often viewed as forming the ‘kinetic basis’ of the modern age, the analysis of movement practices such as dance is often neglected in theories of modernity. Dance theorists such as André Lepecki (2006) and Randy Martin (1998) have argued for an awareness of how the kinaesthetic politics of modernity perform a colonization of space and bodies in their constant drive toward movement and mobility. This chapter examines how an analysis of two dance works by Irish artists, one from the early twentieth century and one from the early twenty-first century, can contribute to these discussions of modernity and dance, and how the works might illuminate connections between dance and politics in Ireland in their alternative approaches to these modernist kinaesthetic politics. Taking a brief, contextualizing look at an early dance play by William Butler Yeats, the chapter then focuses on what echoes, or afterlives, can be found from this early modernist work in a piece by contemporary dance theatre choreographer Fearghus Ó’Conchúir. In both works we see the ability of dance to create an alternative space within the pervading discourses (or movements) of a sociopolitical and cultural landscape that allows the spectator – through a visceral connection with a dancer – to experience a different perspective on the ‘idea of a nation’.

The microphysics of collisionless shock waves

Collisionless shocks, that is shocks mediated by electromagnetic processes, are customary in space physics and in astrophysics. They are to be found in a great variety of objects and environments: magnetospheric and heliospheric shocks, supernova remnants, pulsar winds and their nebulæ, active galactic nuclei, gamma-ray bursts and clusters of galaxies shock waves. Collisionless shock microphysics enters at different stages of shock formation, shock dynamics and particle energization and/or acceleration. It turns out that the shock phenomenon is a multi-scale non-linear problem in time and space. It is complexified by the impact due to high-energy cosmic rays in astrophysical environments. This review adresses the physics of shock formation, shock dynamics and particle acceleration based on a close examination of available multi-wavelength or in situ observations, analytical and numerical developments. A particular emphasis is made on the different instabilities triggered during the shock formation and in association with particle acceleration processes with regards to the properties of the background upstream medium. It appears that among the most important parameters the background magnetic field through the magnetization and its obliquity is the dominant one. The shock velocity that can reach relativistic speeds has also a strong impact over the development of the micro-instabilities and the fate of particle acceleration. Recent developments of laboratory shock experiments has started to bring some new insights in the physics of space plasma and astrophysical shock waves. A special section is dedicated to new laser plasma experiments probing shock physics.

Denver - A City Profile

Denver has emerged from the 1990s as a city region experiencing rapid growth. This has been fuelled by a vibrant local economy, which has adjusted itself from dependency on an earlier oil boom to greater reliance on the information and communications technology sector. The current planning and development challenges are dominated by the need to deal with urban sprawl and pressured transportation infrastructure. The contemporary restructuring of the physical fabric of Denver is marked by a progressive downtown revitalisation effort and a number of space extensive brownfield development projects. The interplay of state and local governments with commercial interests and citizens is a powerful dynamic in shaping these negative and positive outcomes.

Relativistic laser pulse compression in plasmas with a linear axial density gradient

The self-compression of a relativistic Gaussian laser pulse propagating in a non-uniform plasma is investigated. A linear density inhomogeneity (density ramp) is assumed in the axial direction. The nonlinear Schrodinger equation is first solved within a one-dimensional geometry by using the paraxial formalism to demonstrate the occurrence of longitudinal pulse compression and the associated increase in intensity. Both longitudinal and transverse self-compression in plasma is examined for a finite extent Gaussian laser pulse. A pair of appropriate trial functions, for the beam width parameter (in space) and the pulse width parameter (in time) are defined and the corresponding equations of space and time evolution are derived. A numerical investigation shows that inhomogeneity in the plasma can further boost the compression mechanism and localize the pulse intensity, in comparison with a homogeneous plasma. A 100 fs pulse is compressed in an inhomogeneous plasma medium by more than ten times. Our findings indicate the possibility for the generation of particularly intense and short pulses, with relevance to the future development of tabletop high-power ultrashort laser pulse based particle acceleration devices and associated high harmonic generation. An extension of the model is proposed to investigate relativistic laser pulse compression in magnetized plasmas.

Electron beam-plasma interaction and ion-acoustic solitary waves in plasmas with a superthermal electron component

The study of non-Maxwellian plasmas is crucial to the understanding of space and astrophysical plasma dynamics. In this paper, we investigate the existence of arbitrary amplitude ion-acoustic solitary waves in an unmagnetized plasma consisting of ions and excess superthermal electrons (modelled by a kappa-type distribution), which is penetrated by an electron beam. A kappa (kappa-) type distribution is assumed for the background electrons. A (Sagdeev-type) pseudopotential formalism is employed to derive an energy-balance like equation. The range of allowed values of the soliton speed (Mach number), wherein solitary waves may exist, is determined. The Mach number range (allowed soliton speed values) becomes narrower under the combined effect of the electron beam and of the superthermal electrons, and may even be reduced to nil (predicting no solitary wave existence) for high enough beam density and low enough kappa (significant superthermality). For fixed values of all other parameters (Mach number, electron beam-to-ion density ratio and electron beam velocity), both soliton amplitude and (electric potential perturbation) profile steepness increase as kappa decreases. The combined occurrence of small-amplitude negative potential structures and larger amplitude positive ones is pointed out, while the dependence of either type on the plasma parameters is investigated.

Form Follows Media::What is The Matrix as Film, Animation, Game and Comics?

In the digital age, the hyperspace of virtual reality systems stands out as a new spatial notion creating a parallel world to the space we live in. In this alternative realm, the body transforms into a hyperbody, and begins to follow the white rabbit. Not only in real world but also in the Matrix world. The Matrix project of Andy and Larry Wachowski started with a feature film released in 1999. However, The Matrix is not only a film (trilogy). It is a concept, a universe that brings real space and hyperspace together. It is a world represented not only in science fiction films but also in The Animatrix that includes nine animated Matrix films directed by Peter Chung, Andy Jones, Yoshiaki Kawajiri and others, four of which are written by the Wachowskis. The same universe is used in Enter the Matrix, a digital game whose script was written and directed by the brothers and a comic book, The Matrix Comics, which includes twelve different stories by artists like Neil Gaiman and Goef Darrow. The Wachowskis played an active role in the creation and realization of all these “products” of different media. The comic book came last (November 2003), however it is possible to argue that everything came out of comics – the storyboards of the original film. After all the Wachowskis have a background in comics.

In this study, I will focus on the formal analysis of the science fiction world of The Matrix - as a representation of hyperspace - in different media, feature film, animated film, digital game and comic book, focusing on diverse forms of space that come into being as a result of medium differences. To unfold the different formal characters of film, animation, game and comics, concepts and features including framing, flattening, continuity, movement, montage, sound/text, light and color will be discussed. An analysis of these products will help to open up a discussion on the relation of form, media and representation.

Sensing Spaces:A Body-oriented Architectural Design Education

The contemporary dominance of visuality has turned our understanding of space into a mode of unidirectional experience that externalizes other sensual capacities of the body while perceiving the built environment. This affects not only architectural practice but also architectural education when an introduction to the concept of space is often challenging, especially for the students who have limited spatial and sensual training. Considering that an architectural work is not perceived as a series of retinal pictures but as a repeated multi-sensory experience, the problem definitions in the design studio need to be disengaged from the dominance of a ‘focused vision’ and be re-constructed in a holistic manner. A method to address this approach is to enable the students to refer to their own sensual experiences of the built environment as a part of their design processes. This paper focuses on a particular approach to the second year architectural design teaching which has been followed in the Department of Architecture at Izmir University of Economics for the last three years. The very first architectural project of the studio and the program, entitled ‘Sensing Spaces’, is conducted as a multi-staged design process including ‘sense games, analyses of organs and their interpretations into space’. The objectives of this four-week project are to explore the sense of space through the design of a three-dimensional assembly, to create an awareness of the significance of the senses in the design process and to experiment with re-interpreted forms of bodily parts. Hence, the students are encouraged to explore architectural space through their ‘tactile, olfactory, auditory, gustative and visual stimuli’. In this paper, based on a series of examples, architectural space is examined beyond its boundaries of structure, form and function, and spatial design is considered as an activity of re-constructing the built environment through the awareness of bodily senses.