Participatory Sonic Arts: towards a socially engaged art of sound in the everyday (The Som da Maré Project)

Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in “Living Form: Socially Engaged Art from 1991-2011” surveys these
practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake.

“Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines.” (Helguera, 2011)

Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helguera’s “Aelia Media” enabling a nomadic radio station in Bologna or Maria Andueza “Immigrant Sounds – Res(on)Art (Stockholm)” exploring ways of sonically resonating a city, or Sue MacCauley’s “The Housing Project” addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context.
We address concepts and methodologies behind the project Som da Maré, a participatory sonic arts project in the favelas of Maré, Rio de Janeiro.

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).

Large scale test of a novel back-pass non-perforated unglazed solar air collector

This paper describes large scale tests conducted on a novel unglazed solar air collector system. The proposed system, referred to as a back-pass solar collector (BPSC), has on-site installation and aesthetic advantages over conventional unglazed transpired solar collectors (UTSC) as it is fully integrated within a standard insulated wall panel. This paper presents the results obtained from monitoring a BPSC wall panel over one year. Measurements of temperature, wind velocity and solar irradiance were taken at multiple air mass flow rates. It is shown that the length of the collector cavities has a direct impact on the efficiency of the system. It is also shown that beyond a height-to-flow ratio of 0.023m/m³/hr/m², no additional heat output is obtained by increasing the collector height for the experimental setup in this study, but these numbers would obviously be different if the experimental setup or test environment (e.g. location and climate) change. An equation for predicting the temperature rise of the BPSC is proposed.

Building sandstone surface modification by biofilm and iron precipitation: emerging block-scale heterogeneity and system response

Stone surfaces are sensitive to their environment. This means that they will often respond to exposure conditions by manifesting a change in surface characteristics. Such changes can be more than simply aesthetic, creating surface/subsurface heterogeneity in stone at the block scale, promoting stress gradients to be set up as surface response to, for example, temperature fluctuations, can diverge from subsurface response. This paper reports preliminary experiments investigating the potential of biofilms and iron precipitation as surface-modifiers on stone, exploring the idea of block-scale surface-to-depth heterogeneity, and investigating how physical alteration in the surface and near-surface zone can have implications for subsurface response and potentially for long-term decay patterns. Salt weathering simulations on fresh and surface-modified stone suggest that even subtle surface modification can have significant implications for moisture uptake and retention, salt concentration and distribution from surface to depth, over the period of the experimental run. The accumulation of salt may increase the retention of moisture, by modifying vapour pressure differentials and the rate of evaporation.
Temperature fluctuation experiments suggest that the presence of a biofilm can have an impact on energy transfer processes that occur at the stone surface (for example, buffering against temperature fluctuation), affecting surface-to-depth stress gradients. Ultimately, fresh and surface-modified blocks mask different kinds of system, which respond to inputs differently because of different storage mechanisms, encouraging divergent behaviour between fresh and surface modified stone over time.

Tullis Rennie's Muscle Memory: Listening to the Act of Listening

This paper explores a recent, broadly 'electroacoustic', fixed medium composition by Tullis Rennie, which uses his background in ethnographic fieldwork to explore (in this case through auto-ethnography) modes of listening, and the role of technologies in mediating this listening. Muscle Memory: A conversation about jazz, with Graham South (trumpet) (2014) begins to answer questions about how one work can comment on and analyse or critique another through its own agency as music, bringing composition and ethnography together in fruitful collision, and illuminating the human capacity to manipulate and be manipulated by musical activity. The paper uses the piece to test the extent to which four functions, identified by Simon Frith (1987. Towards an aesthetic of popular music. In R. Leppert & S. McClary (Eds.), Music and society (pp. 133-49). Cambridge: Cambridge University Press) as crucial to the meaningfulness of popular music may, in the context of ubiquitously technologised music, have broader application than he originally intended.

Retro, faux-vintage, and anachronism: When cinema looks back at Its Analogue Past

This article explores the definition of ‘vintage cinema’ and specifically re-evaluates the fetishism for the past and its regurgitation in the present by providing a taxonomy of the phenomenon in recent film production. Our contribution identifies three aesthetic categories: the faux-vintage, the retro and the anachronistic and by illustrating their overlapping and discrepancies, it argues that the past remains a powerful negotiator of meaning for the present and the future. Drawing on studies of memory and digital nostalgia, this article focuses on the latter category: anachronism and unravel the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013).

Impact of Referral Protocols on the Dental Management of Patients Undergoing Treatment for Head and Neck Oncology in Northern Ireland

Objective: To evaluate the handling, by a group of practice-based researchers, of a recently introduced bulk fill resin-based composite restorative material, Filtek Bulk Fill Restorative (3M ESPE).

Methods: The twelve selected evaluators were sent explanatory letters, a pack of the material under investigation to use for 8 weeks, and a questionnaire.

Results: The evaluators rated the ease of use of the bulk fill restorative the same as the previously used posterior composite material. The provision of one shade only for evaluation may have compromised the score for aesthetic quality. No post-operative sensitivity was reported.

Conclusions: The bulk fill material was well received as indicated by the high number of evaluators who would both purchase the material and recommend it to colleagues.

Clinical relevance: A recently introduced bulk fill restorative material achieved a rating for handling which was similar to the evaluators’ previously used resin composite, although there were some concerns regarding the translucency of the material.

Ghosts and Television

This chapter explores the ghost story on television, and particularly the tensions between the medium and the genre. Television has long been seen as a nearly-supernatural medium, an association that the very term 'medium' enhances. In particular, the very intimacy of television, and its domestic presence, have led to it being considered to be a suitable and effective venue for the ghost story, while at the same time concerns have risen over it being too effective at conveying horror into the home. The ghost story is thus one of the genres where the tensions between the medium's aesthetic possibilities and desire for censorship can be most clearly seen. As such, there is a recurring use of the ghost story in relation to different techniques of special effects and narrative on television, some more effective than others, and the presence of the ghost story on television waxes and wanes as different styles become more or less popular, and different narrative forms, such as single play or serial or series, become more or less dominant. Drawing on examples primarily from a British and US context, this chapter outlines the history of the ghost story on television and demonstrates how the tensions in presentation, narrative and considerations of the viewer have influenced the many changes that have taken place within the genre.

Forced Displacement, Suffering and the Aesthetics of Loss

This article investigates how artists have addressed shocking experiences of displacement in different political contexts. Drawing on the notion of ‘the aesthetics of loss’ (Köstlin, 2010), it examines and compares the different aims, desires and strategies that have shaped the histories and social lives of paintings, memorial statues, installations and other artefacts. The analysis identifies a mode of artistic engagement with the sense of a ‘loss of homeland’ that has been commonly felt amongst Sudeten German expellees, namely the production and framing of visual images as markers of collective trauma. These aesthetics of loss are contrasted with the approach taken by the Dutch artist Sophie Ernst in her project entitled HOME. Working with displaced people from Pakistan, India, Palestine, Israel and Iraq, she created a mnemonic space to stimulate a more individualistic, exploratory engagement with the loss of home, which aimed, in part, to elicit interpersonal empathy. To simply oppose these two modes of aesthetic engagement, however, would ignore the ways in which artefacts are drawn into different discursive, affective and spatial formations. This article argues for the need to expose such dynamic processes of framing and reframing by focusing on the processual aspects of aestheticisation with attention to the perspective of loss.