Graffiti composition: screenplay

Ongoing collaboration with Christian Marclay. ‘Graffiti Composition’ and ‘Screenplay’ are two related works consisting of live musical improvisation and performance. They are part of an ongoing collaboration with the artist Christian Marclay. 'Graffiti Composition' involved Beresford directing an invited orchestra of improvising musicians. The work focuses on making music from the random compositional acts of strangers. Prior to realization, Marclay fly-posted several hundred sheets of blank manuscript paper, collecting the sheets some days later, after passers-by had written on them – using either traditional music notation or more transgressive interference modes (colour-blocks, torn holes in or abstract graphic symbols on the paper) – and sending photographs of them to Beresford. Beresford’s directorial decisions helped these random graffiti become music via simple formal processes – restricting each musician to a handout of two MS each, or stipulating a mini-concerto for each player. Beresford’s contribution explores the paradox of improvisation stipulated by strangers and controlled, however loosely, by the structuring agency of a musical director. ‘Screenplay’ extended this collaborative process between Marclay and Beresford. Beresford and other musicians responding to a visual track comprising found and public domain moving images manipulated by Marclay – gunfight scenes from a TV Western; running water; racing cars morphing into crying children, and so on, in black-and-white, with single-colour blocks appearing and developing as lines, spots, and other suggestive ‘notation’. The elliptical, surprising, humorous nature of the images at times is hyperexplicated by the improvised music, and at others challenged, ignored or contradicted by the musicians’ interaction. ‘Graffiti Composition’ was performed by the LSO at St. Luke’s, London, March 22, 2005. ‘Screenplay’ premiered in Dundee in 2006, and toured Europe during 2007. Reviewed in the Herald (21 Feb 06) and Times (24 March 07). Beresford’s work as improviser, composer and performer was profiled in The Wire (April 2002, May 2005).

Identification of image attributes that are most affected with changes in displayed image size

This paper describes an investigation of changes in image appearance when images are viewed at different image sizes on a high-end LCD device. Two digital image capturing devices of different overall image quality were used for recording identical natural scenes with a variety of pictorial contents. From each capturing device, a total of sixty four captured scenes, including architecture, nature, portraits, still and moving objects and artworks under various illumination conditions and recorded noise level were selected. The test set included some images where camera shake was purposefully introduced. An achromatic version of the image set that contained only lightness information was obtained by processing the captured images in CIELAB space. Rank order experiments were carried out to determine which image attribute(s) were most affected when the displayed image size was altered. These evaluations were carried out for both chromatic and achromatic versions of the stimuli. For the achromatic stimuli, attributes such as contrast, brightness, sharpness and noisiness were rank-ordered by the observers in terms of the degree of change. The same attributes, as well as hue and colourfulness, were investigated for the chromatic versions of the stimuli. Results showed that sharpness and contrast were the two most affected attributes with changes in displayed image size. The ranking of the remaining attributes varied with image content and illumination conditions. Further, experiments were carried out to link original scene content to the attributes that changed mostly with changes in image size.

Sensory imagery in individuals who are blind and sighted: examining unimodal and multimodal forms

Introduction: Previous research has suggested that visual images are more easily generated, more vivid and more memorable than other sensory modalities. This research examined whether or not imagery is experienced in similar ways by people with and without sight. Specifically, the imabeability of visual, auditory and tactile cue words was compared. The degree to which images were multimodal or unimodal was also examined. Method: Twelve participants totally blind from early infancy and 12 sighted participants generated images in response to 53 sensory and non sensory words, rating imageability and the sensory modality, and describing images. From these 53 items, 4 subgroups of words, which stimulated images that were predominantly visual, tactile, auditory and low-imagery, respectively, were created. Results: T-tests comparing imageability ratings from blind and sighted participants found no differences for auditory and tactile words (both p>.1). Nevertheless, whilst participants without sight found auditory and tactile images equally imageable, sighted participants found images in response to tactile cue words harder to generate than visual cue words (mean difference: -0.51, p=.025). Participants with sight were also more likely to develop multisensory images than were participants without sight (both U≥15.0, N1=12, N2=12, p≤.008). Discussion: For both the blind and sighted, auditory and tactile images were rich and varied and similar language was used. Sighted participants were more likely to generate multimodal images. This was particularly the case for tactile words. Nevertheless, cue words that resulted in multisensory images were not necessarily rated as more imageable. The discussion considers whether or not multimodal imagery represent a method of compensating for impoverished unimodal imagery. Implications for Practitioners: Imagery is important not only as a mnemonic in memory rehabilitation, but also everyday uses for things such as autobiographical memory. This research emphasises both the importance of not only auditory and tactile sensory imagery, but also spatial imagery for people without sight.

Nagaland: Borders, Boundaries, Belonging: Contested spaces and disputed narratives

In 2011 I travelled to three of the ‘Seven Sister’ states of old Assam, Nagaland, Meghalaya & Assam. My journey to this remote and politically sensitive region, bordering Chinese occupied Tibet, Bangladesh and Myanmar was prompted by my father’s experiences in the region during WW2 in the Burma Campaign and brought into sharp relief on-going themes in my work, the impact the past has on the present, the relationship of time and place, identity and memory and the transcultural experiences caused by war, colonisation and migration. The drawings I made on location, the objects I collected and the notes and photographs I took formed the basis of the bookwork: NAGALAND borders boundaries belonging. When making the finished work the material quality of the object and the processes by which it was made become very important. The historical resonance of the medium and the time consuming nature of the process reflect the embedding of form and idea, and paid homage to the material culture of the Naga hill tribes. The bookwork was hand-bound, handset and printed by letterpress. Some spreads were printed in 6 colours and the book took over a year to produce. I see my practice as echoing that of generations of Lady travellers; embracing the need to journey, be in a liminal space, to have a plan but not be afraid to divert from it. To be alone, take a sketchbook and make images is, for me, the definition of the itinerant illustrator; one who travels widely in geographic space, visual forms and ideas, in order to get lost and find the unlooked for.

Performance Evaluation of a Statistical and a Neural Network Model for Nonrigid Shape-Based Registration

Shape-based registration methods frequently encounters in the domains of computer vision, image processing and medical imaging. The registration problem is to find an optimal transformation/mapping between sets of rigid or nonrigid objects and to automatically solve for correspondences. In this paper we present a comparison of two different probabilistic methods, the entropy and the growing neural gas network (GNG), as general feature-based registration algorithms. Using entropy shape modelling is performed by connecting the point sets with the highest probability of curvature information, while with GNG the points sets are connected using nearest-neighbour relationships derived from competitive hebbian learning. In order to compare performances we use different levels of shape deformation starting with a simple shape 2D MRI brain ventricles and moving to more complicated shapes like hands. Results both quantitatively and qualitatively are given for both sets.