Big Ears – sonic art for public ears: Reflections on collaborative training

This text critically reflects on the higher education public engagement training program, entitled ‘Big Ears – sonic art for public ears’. The authors detail the objectives and aims as well as the benefits of this initiative for the enhancement of the student learning experience. We consider Schmidt’s (Schmidt, 2012) notion of mis-listening and Christopher Small’s concept of ‘musicking’ (Small, 1998), and develop a critical argument on how public engagement has changed researchers’ views and attitudes about their own research. The text explores how the creative interaction with a young audience has had great impact on the students’ learning experience as well as on their employability/transferable skills, because Big Ears stresses the importance of pulling practice as research away from the academic argument of why artists should be supported inside an institution, and into the realm of the real – what to do when making art, how to make it relevant and applicable to audiences.

Listening to the World Through New Ears:Reinvention of the soundtrack in the works of Lucrecia Martel and Sofia Coppola

This paper explores the production and post-production techniques and tensions in designing sound for film. Considering the films of Lucrecia Martel and Sofia Coppola, amongst others, Greene and Yang will discuss how the soundtrack takes on a primary role in these films and becomes a medium for symbolism, reflection, characterisation, as well as storytelling. There will be a close examination of the processes involved in creating character-orientated soundscapes. These processes are sensitive to the effects sound has on an audience. Exploring how these filmmakers (with their sound teams) utilise the listening experience, including attention to point of audition and sound perception, this paper will critically unpick how such creative decisions are arrived at during various stages of the production process. Outlining the use of diegetic and non-diegetic sound and the potential musicality of sound effect design, issues of reverberation, noise and intent are discussed to highlight the sonic framing of these creative teams. Greene will approach these soundtracks from a production/post-production perspective, while Yang will explore the composer’s/designer’s ear.

Cutaneous Grooves: Composing for the Sense of Touch

What if the traditional relationship between touch and music was essentially turned upside down, making the tactile sensation the aesthetic end? This paper presents a novel coupling of haptics technology and music, introducing the notion of tactile composition or aesthetic composition for the sense of touch. A system that facilitates the composition and perception of intricate, musically structured spatio-temporal patterns of vibration on the surface of the body is described. Relevant work from disciplines including sensory substitution, electronic musical instrument design, simulation design, entertainment technology, and visual music is considered. The psychophysical parameter space for our sense of touch is summarized and the building blocks of a compositional language for touch are explored. A series of concerts held for the skin and ears is described, as well as some of the lessons learned along the way. In conclusion, some potential evolutionary branches of tactile composition are posited.

Influence of social status on the welfare of growing pigs housed in barren and enriched environments

One hundred and twenty-eight pigs were reared in barren or enriched environments from birth to slaughter at 21 weeks of age. Pigs remained as litter-mate groups until 8 weeks of age when they were mixed into groups of eight animals. These groups were balanced for gender and weight and contained two pigs from each of four different litters. Each pig was assigned high or low social status on the basis of relative success in aggressive interactions at mixing. Injury levels were assessed on a weekly basis from 8 to 2 1 weeks of age. Pigs were exposed to two group food competition tests after a period of food restriction at 10 weeks of age, and to an individual novel pen test at 11 weeks of age. Behavioural and plasma cortisol responses to both types of test were recorded. Low social status was associated with increased injuries to the head, neck and ears, and therefore reduced welfare. Pigs with low social status showed reduced resource-holding ability in the food competition test, and greater avoidance of a novel object during the novel pen test. It is suggested that avoidance of the novel object reflected 'learned' fearfulness in these individuals. Environmental enrichment did not negate the effect of low social status on injury levels, but did appear to reduce the negative influence of low social status on stress during food restriction, and led to a reduction in fearfulness in response to the novel pen test. These results suggest that environmental enrichment may improve the we/fare of growing pigs with low social status.

A survey of sidedness in Northern Irish schoolchildren: The interaction of sex, age, and task

The study examined lateral preference in use of hands, feet, eyes, and ears in a group of nearly 5000 schoolchildren in Northern Ireland. Performance tests were carried out by student teachers during their school-based work in 2002 and data were submitted on-line. Six tasks were used-writing, throwing a ball, kicking a ball, hopping, listening to quiet sounds, and looking through a cardboard tube. There was right bias in every task but the extent of it differed between tasks. Males were generally less right biased than females, and younger children less than older ones; for hearing, the changes with age were markedly different in the two sexes, with females showing a strong increase in right bias but males showing none. These observational results do little to illuminate the reasons for the patterns observed.

Echolocation signals and pinnae movement in the fruitbat Rousettus aegyptiacus

The fruit bat Rousettus aegyptiacus has highly mobile pinnae. Little is known about the role that such movements play in sound localisation however and whether they interact with the process of echolocation in this species. Here we report the correspondence of echolocation signals in free flight with the downward wingbeat and forward movement of the pinnae, and demonstrate that the ears have a greater sensitivity to click stimuli in front of the animal when directed forwards than when back and to the side. The potential significance of the production of echolocation signals whilst the ears are moving from their least sensitive to their most sensitive position is discussed.

Thou art a strange fellow:Dissonance and Discordance in Intercultural Shakespeares

Any performance of the intercultural necessarily, and always, advances the question of the cultural since it involves the inter-action and interplay of unique and particular cultural performance styles and modes. Intercultural theatre, according to Pavis, is a hybrid theatrical form “drawing upon performance traditions traceable to distinct cultural areas. The hybridization is very often such that the original forms can no longer be distinguished.” The result of this collaboration of forms is, however, often not a ‘hybrid’ where cultural texts work cohesively and in unison to produce a harmonious mise en scene. Instead, intercultural performances are performances at the interstices and at the intersections of cultures. They raise problems of authorship, authority and performance unities and expose a sense of cultural foreignness. Consequently, intercultural performance can be said to be meta-theatre that queries the construction of culture since it places alongside performance traditions that confront.

Music, as performative unit, is a significant line of action by which the intercultural spectacle is constructed. Integral to Western theatre, and certainly more so in traditional Asian performance forms, the deliberate ‘fusion’ and ‘blending’ of musical styles in intercultural performances underscore not a harmony of diverse sounds but the possible dissonance and discordance already performed by the visual and verbal texts. The paper thus seeks to examine, in particular, the musical elements in intercultural performances such as Ong Keng Sen’s Lear (Theatreworks, 1999) and explore the ways in which music could possibly intensify the confrontation of performative texts resulting in a disruption of performance unities. When watching and listening to Lear, the question of the ‘local’ thus arises not merely with identification and alienation from what is seen but also what is familiar and foreign to one’s ears.

Toward Unconstrained Ear Recognition From Two-Dimensional Images

Ear recognition, as a biometric, has several advantages. In particular, ears can be measured remotely and are also relatively static in size and structure for each individual. Unfortunately, at present, good recognition rates require controlled conditions. For commercial use, these systems need to be much more robust. In particular, ears have to be recognized from different angles ( poses), under different lighting conditions, and with different cameras. It must also be possible to distinguish ears from background clutter and identify them when partly occluded by hair, hats, or other objects. The purpose of this paper is to suggest how progress toward such robustness might be achieved through a technique that improves ear registration. The approach focuses on 2-D images, treating the ear as a planar surface that is registered to a gallery using a homography transform calculated from scale-invariant feature-transform feature matches. The feature matches reduce the gallery size and enable a precise ranking using a simple 2-D distance algorithm. Analysis on a range of data sets demonstrates the technique to be robust to background clutter, viewing angles up to +/- 13 degrees, and up to 18% occlusion. In addition, recognition remains accurate with masked ear images as small as 20 x 35 pixels.

3D Morphable Model Construction for Robust Ear and Face Recognition

Recent work suggests that the human ear varies significantly between different subjects and can be used for identification. In principle, therefore, using ears in addition to the face within a recognition system could improve accuracy and robustness, particularly for non-frontal views. The paper describes work that investigates this hypothesis using an approach based on the construction of a 3D morphable model of the head and ear. One issue with creating a model that includes the ear is that existing training datasets contain noise and partial occlusion. Rather than exclude these regions manually, a classifier has been developed which automates this process. When combined with a robust registration algorithm the resulting system enables full head morphable models to be constructed efficiently using less constrained datasets. The algorithm has been evaluated using registration consistency, model coverage and minimalism metrics, which together demonstrate the accuracy of the approach. To make it easier to build on this work, the source code has been made available online.

Robust 2D Ear Registration and Recognition Based on SIFT Point Matching

Significant recent progress has shown ear recognition to be a viable biometric. Good recognition rates have been demonstrated under controlled conditions, using manual registration or with specialised equipment. This paper describes a new technique which improves the robustness of ear registration and recognition, addressing issues of pose variation, background clutter and occlusion. By treating the ear as a planar surface and creating a homography transform using SIFT feature matches, ears can be registered accurately. The feature matches reduce the gallery size and enable a precise ranking using a simple 2D distance algorithm. When applied to the XM2VTS database it gives results comparable to PCA with manual registration. Further analysis on more challenging datasets demonstrates the technique to be robust to background clutter, viewing angles up to +/- 13 degrees and with over 20% occlusion.

Presentation of lacrimo-auriculodento- digital (LADD) syndrome in a young female patient

BACKGROUND: Lacrimo-auriculo-dento-digital (LADD) syndrome (OMIM #149730) is an autosomal-dominant congenital disorder that can be caused by heterozygous mutations in the tyrosine kinase domains of the genes encoding fibroblast growth factor receptors 2 (FGFR2) and 3 (FGFR3), and has been found in association with a mutation in the FGF10 gene, which encodes an Fgfr ligand. Clinical signs vary, but the condition is characterised by involvement of the lacrimal and salivary systems, cup-shaped ears, hearing loss and dental abnormalities. Additional features may include involvement of the hands and feet with other body systems particularly the kidneys.

CASE REPORT: Previous literature on the subject has been reviewed and this case is the first presentation of LADD syndrome in the Republic of Ireland, as a sporadic case in a 12-year-old girl who exhibited a range of dental and digital anomalies.

TREATMENT: Her general medical practitioner managed her medical care whilst her oral care necessitated a multidisciplinary approach involving restorative and orthodontic elements.

FOLLOW-UP: The initial restorative phase of treatment has successfully improved the appearance of the patient's anterior teeth using direct resin composite build-ups.