Critical Mass: Sermon for the Church of the Atom (part of A Theatre to Address at Arnolfini, Bristol and Late at Tate Britain)

A Theatre to Address explores the work of contemporary artists who use text as both a visual and sonic form. In this programme, text appears not primarily as a means of communication, but as something which has shape and structure of its own. The Reading Room will also be displaying work that looks at text as concrete or visual poetry, and the script in artists' practice. Clare Gasson presents a new work The traveller - walking walking walking through ... that explores the connection between the text, the rhythm and the action. Maryam Jafri presents a performance-lecture Death With Friends, a body of visual and textual material that forms the basis for her new film of the same name. Pil and Galia Kollectiv present a radical worship for the apocalypse, featuring a sermon for the Church of the Atom with live music by Gelbart.

A tutorial on pseudospectral methods for computational optimal control

[English] This paper is a tutorial introduction to pseudospectral optimal control. With pseudospectral methods, a function is approximated as a linear combination of smooth basis functions, which are often chosen to be Legendre or Chebyshev polynomials. Collocation of the differential-algebraic equations is performed at orthogonal collocation points, which are selected to yield interpolation of high accuracy. Pseudospectral methods directly discretize the original optimal control problem to recast it into a nonlinear programming format. A numerical optimizer is then employed to find approximate local optimal solutions. The paper also briefly describes the functionality and implementation of PSOPT, an open source software package written in C++ that employs pseudospectral discretization methods to solve multi-phase optimal control problems. The software implements the Legendre and Chebyshev pseudospectral methods, and it has useful features such as automatic differentiation, sparsity detection, and automatic scaling. The use of pseudospectral methods is illustrated in two problems taken from the literature on computational optimal control. [Portuguese] Este artigo e um tutorial introdutorio sobre controle otimo pseudo-espectral. Em metodos pseudo-espectrais, uma funcao e aproximada como uma combinacao linear de funcoes de base suaves, tipicamente escolhidas como polinomios de Legendre ou Chebyshev. A colocacao de equacoes algebrico-diferenciais e realizada em pontos de colocacao ortogonal, que sao selecionados de modo a minimizar o erro de interpolacao. Metodos pseudoespectrais discretizam o problema de controle otimo original de modo a converte-lo em um problema de programa cao nao-linear. Um otimizador numerico e entao empregado para obter solucoes localmente otimas. Este artigo tambem descreve sucintamente a funcionalidade e a implementacao de um pacote computacional de codigo aberto escrito em C++ chamado PSOPT. Tal pacote emprega metodos de discretizacao pseudo-spectrais para resolver problemas de controle otimo com multiplas fase. O PSOPT permite a utilizacao de metodos de Legendre ou Chebyshev, e possui caractersticas uteis tais como diferenciacao automatica, deteccao de esparsidade e escalonamento automatico. O uso de metodos pseudo-espectrais e ilustrado em dois problemas retirados da literatura de controle otimo computacional.

Performance as social practice

Starting point for these outputs is a large scale research project in collaboration with the Zurich University for the Arts and the Kunstmuseum Thun, looking at a redefinition of Social Sculpture (Joseph Beuys/ Bazon Brock, 1970) as a functional device re-deployed to expand the art discourse into a societal discourse. Although Beuys‘ version of a social sculpture involved notions of abstruse mysticism and reformulations of a national identity these were never-the less part of a social transformation that shifted and re-arranged power relations. Following Laclau and Mouffe in their contention that democray is a fundamentally antagonistic process and contesting Grant Kester’s understanding of a ethically based relational practice, this work is alignes itself with Hirschhorn’s claim to an aesthetic practice within communities, following the possibility to view a socially based practice from both ends of the ethics debate, whereby ethical aspects fuels the aethetic to “create situations that are beautiful because they are ethical and shocking because they are ethical, thus in turn aesthetic because they are ethical” (O’Donnell). This project sets out to engage in activities which interact with surrounding communities and evoce new imaginations of site, thereby understanding site as a catalysts for subjective emergences. Performance is tested as a site for social practice. Archival research into local audio/visual resources, such as the Swiss Radio Archive, the Swiss Military Film Archives and zoological film archives of the Basel Zoo, was instrumental to the navigation of this work, under theme of crisis, catastrophy, landscape, fallout, in order to create a visual language for an active performance site. Commissioned by the Kunstmuseum Thun in collaboration with the University for the Arts in Zurich as part of a year long exhibition programme, (other artists are Jeanne Van Heeswijk (NL) and San Keller (CH), ) this project brings together a series of different works in a new performace installation. The performance process includes a performance workshop with 30 school children from local Swiss schools and their teachers, which was conducted publicly in the museum spaces. It enabled the children to engage with an unexpected set of tribal and animalistic behaviours, looking at situations of flight and rescue, resulting in a large performance choreography orchestration without an apparent conductor, it includes a collaboration with renowned Swiss zoologist, Prof Klaus Zuberbühler(University of St Andrews) and the Colonal General Haldimann commander of the military base in Thun. The installation included 2 static video images, shot in an around spectacular local cave site (Beatus Caves) including 3 children. The project will culminate in an edited edition of the Oncurating Journal, (issue no, tbc, in 2012) including interviews and essays from project collaborators. (Army Commander General, Thun, Jörg Hess, performance script, Timothy Long, and others)

Slideshow by POLLYFIBRE

A live work where digital and analogue media collide. This work uses the Internet as a central point of departure in that the script is taken from the Wikipedia entry for the word 'slideshow'. Words are randomly extracted and transferred onto photographic 35mm slide to be projected with analogue carousel slide projectors taking the audience into a visual wordplay, from Google to PowerPoint presentation. The sound of projectors is manipulated gradually into a clashing, confrontational, digital/analogue crescendo. 'Slideshow' investigates how information is sourced, navigated and considered in a culture of accelerating mediation. It posits the notion of a post-digital era in which we are increasingly faced with challenging questions of authenticity and authority.

Another reform? proposals for the post-2013 Common Agricultural Policy

Following two decades of policy change, in 2011 the European Commission tabled proposals for a new ‘reform’ of the CAP. A major component of the reform would be a revamping of the existing system of direct payments to farmers. For example, 30% of the spend would be dependent on farmers respecting new greening criteria; and payments would be restricted to active farmers and subject to a payment cap. These proposals will be debated by the Council of Ministers and the European Parliament throughout 2012, and possibly 2013, before final decisions are reached. What aspects, if any, of the proposals will prove acceptable is yet to be discerned. Although tabled as part of a financial package, the proposals do not appear to be driven by financial exigency: indeed they seek to maintain the expenditure status quo. Nor do they appear to be driven by international pressures: if anything, they backtrack on previous attempts to bring the CAP into conformity with a post-Doha WTO Agreement on Agriculture. Instead they seek to establish a new partnership between society and ‘farmers, who keep rural areas alive, who are in contact with the ecosystems and who produce the food we eat’ (Cioloș 2011), in an attempt to justify continuing support.

Sarkar Bengali typeface

Fiona Ross, Tim Holloway (co-designers) were commissioned by the renowned newspaper and publishing house Anandabazar Patrika (ABP) to design a new low-contrast typeface in a contemporary style for print and screen use in its publications. Ross and Holloway designed ABP's Bengali house typeface (Linotype Bengali - the first digital Bengali font) that has been in daily use in its newspaper since 1982. The design team was augmented by Neelakash Kshetrimayum; OpenType production undertaken by John Hudson. This Bengali typeface is the first fully functional OpenType design for the script. It demonstrates innovative features that resolve problems which hitherto hindered the successful execution of low-contrast Bengali text fonts: this connecting script of over 450 characters has deep verticals, spiralling strokes, wide characters, and intersecting ascenders. The new design has solutions to overcome the necessity to implement wide interlinear spacing and sets more words to the line than has yet been possible. This project therefore combines the use of aesthetic, technical and linguistic skills and is highly visible in newspapers of the largest newspaper group and publishing house in West Bengal in print and on-line. The design and development of Sarkar has positive implications for other non-Latin script designs, just as the Linotype Bengali typeface formed the blueprint for new non-Latin designs three decades ago. Sarkar was released on 31 August 2012 with the launch of Anandabazar Patirka's new newspaper Ebela.

CUP Intermediate Greek-English Lexicon

Document design and typeface design: A typographic specification for a new Intermediate Greek-English Lexicon by CUP, accompanied by typefaces modified for the specific typographic requirements of the text. The Lexicon is a substantial (over 1400 pages) publication for HE students and academics intended to complement Liddell-Scott (the standard reference for classical Greek since the 1850s), and has been in preparation for over a decade. The typographic appearance of such works has changed very little since the original editions, largely to the lack of suitable typefaces: early digital proofs of the Lexicon utilised directly digitised versions of historical typefaces, making the entries difficult to navigate, and the document uneven in typographic texture. Close collaboration with the editors of the Lexicon, and discussion of the historical precedents for such documents informed the design at all typographic levels to achieve a highly reader-friendly results that propose a model for this kind of typography. Uniquely for a work of this kind, typeface design decisions were integrated into the wider document design specification. A rethinking of the complex typography for Greek and English based on historical editions as well as equivalent bilingual reference works at this level (from OUP, CUP, Brill, Mondadori, and other publishers) led a redefinition of multi-script typeface pairing for the specific context, taking into account recent developments in typeface design. Specifically, the relevant weighting of elements within each entry were redefined, as well as the typographic texture of type styles across the two scripts. In details, Greek typefaces were modified to emphasise clarity and readability, particularly of diacritics, at very small sizes. The relative weights of typefaces typeset side-by-side were fine-tuned so that the visual hierarchy of the entires was unambiguous despite the dense typesetting.

Going global: the Brazilian scripted film

This article departs from the assumption that a certain section of world cinema, usually defined as ‘independent’, has been evolving on the basis of good scripts. Between the late 1980s and early 90s, there has been a boom of new cinemas in the world, such as the new Iranian, Taiwanese, Japanese, Mexican, Argentine and Brazilian cinemas. A significant part of this production shows a renewed interest in local and national peculiarities of their respective countries, going against the grain of globalisation and its typical cultural dilution. Most of these films are also engaged in reassessing narrative cinema, as a kind of reaction against the deconstructive work carried out by postmodern cinema of the 1980s.Recent new cinemas are supported by a combination of local and international resources, derived from public and private sponsors at home, and funding agencies, festivals and TV channels abroad. In most cases funds are granted after the film script has been analysed and approved by commissions of experts. The New Brazilian Cinema, or cinema da retomada as it is locally called, has been enormously affected by this scheme, which has even caused a ‘script boom’ in Brazil in the past decade. The chapter examins the results of this process.

Voice, body and the transmission of the real in documentary theatre

This article analyses how listening is used to develop performances in Alecky Blythe’s verbatim theatre. Listening includes Blythe’s use of recorded oral interviews for devising performances, and also the actors’ creation of performance by precisely imitating an interviewee’s voice. The article focuses on listening, speaking and embodiment in London Road, Blythe’s recent musical play at London’s National Theatre, which adopted and modified theatre strategies used in her other plays, especially The Girlfriend Experience and Do We look Like Refugees. The article draws on interviews with performers and with Blythe herself, in its critical analysis of how voice legitimates claims to authenticity in performance. The work on Blythe is contextualised by brief comparative analyses. One is Clio Barnard’s film The Arbor, a ‘quasi-documentary’ on the playwright, Andrea Dunbar which makes use of an oral script to which the actors lip-sync. The other comparator is the Wooster Group’s Poor Theater, which attempts to recreate Grotowski's Akropolis via vocal impersonation. The article argues that voice in London Road both claims and defers authenticity and authority, inasmuch as voice signifies presence and embodied identity but the reworking of speech into song signals the absence of the real. The translation of voice into written surtitles works similarly in Do We Look Like Refugees. Blythe’s theatre, Barnard’s film and The Wooster Group’s performances are a useful framework for addressing questions of voice and identity, and authenticity and replication in documentary theatre. The article concludes by placing Blythe’s oral texts amid current debates around theatre’s textual practices.

Using genomic DNA-based probe-selection to improve the sensitivity of high-density oligonucleotide arrays when applied to heterologous species

High-density oligonucleotide (oligo) arrays are a powerful tool for transcript profiling. Arrays based on GeneChip® technology are amongst the most widely used, although GeneChip® arrays are currently available for only a small number of plant and animal species. Thus, we have developed a method to improve the sensitivity of high-density oligonucleotide arrays when applied to heterologous species and tested the method by analysing the transcriptome of Brassica oleracea L., a species for which no GeneChip® array is available, using a GeneChip® array designed for Arabidopsis thaliana (L.) Heynh. Genomic DNA from B. oleracea was labelled and hybridised to the ATH1-121501 GeneChip® array. Arabidopsis thaliana probe-pairs that hybridised to the B. oleracea genomic DNA on the basis of the perfect-match (PM) probe signal were then selected for subsequent B. oleracea transcriptome analysis using a .cel file parser script to generate probe mask files. The transcriptional response of B. oleracea to a mineral nutrient (phosphorus; P) stress was quantified using probe mask files generated for a wide range of gDNA hybridisation intensity thresholds. An example probe mask file generated with a gDNA hybridisation intensity threshold of 400 removed > 68 % of the available PM probes from the analysis but retained >96 % of available A. thaliana probe-sets. Ninety-nine of these genes were then identified as significantly regulated under P stress in B. oleracea, including the homologues of P stress responsive genes in A. thaliana. Increasing the gDNA hybridisation intensity thresholds up to 500 for probe-selection increased the sensitivity of the GeneChip® array to detect regulation of gene expression in B. oleracea under P stress by up to 13-fold. Our open-source software to create probe mask files is freely available http://affymetrix.arabidopsis.info/xspecies/ webcite and may be used to facilitate transcriptomic analyses of a wide range of plant and animal species in the absence of custom arrays.

GM crops, developing countries and food security

The agronomic and economic performance of genetically modified (GM) crops relative to their conventional counterparts has been largely investigated worldwide. As a result there is considerable information to conduct a meta-analysis to evaluate the agronomic and economic relative performance of GM crops vs. non GM crops by crop, GM trait, and country’s level of development. Such meta-analysis has been recently conducted showing that overall GM crops outperform non GM crops in both agronomic and economic terms (1). This paper focuses on the agronomic and economic performance of GM crops in developing and developed countries as well as the potential implications for global food security of adoption of GM crops by developing countries. The presumption that technology only benefits the developed world is not supported by the meta-analysis conducted. No evidence that GM technology benefits moredeveloped than developing countries was found. Indeed, the agronomic and economic performance of GM crops vs. conventional crops tends to be better for developing than for developed countries. Although it is manifested that the conventional agronomic practices in developing countries are different to those in developed countries, it is also apparent that GM crop adoption in developing countries may help to tackle the growing concerns over the scarcity of food globally.

La adquisición de las cláusulas interrogativas parciales en el Español infantil: ¿Reglas innatas o fórmulas aprendidas?

Abstract According to Usage-based Theory (Tomasello 2006), children acquire wh- questions by initially producing concrete formula structures that happen to be very frequent in the input. In this research we analyze the wh-questions produced by three Spanish-speaking children (age range: 0;11-3;11) in longitudinal samples of spontaneous speech to determine whether the Usage-based Theory can explain the wh-question acquisition in Spanish. Results show that: i) the first wh-questions are formula, that appeared with few interrogative particles, and that are highly frequent in the input; ii) as the child develops, wh-questions become more complex, in which this structures are produced with more varied interrogative particles and different verbs; iii) the input seems to play a relevant role in the acquisition of wh-questions. Results seem to validate the Usage-based Theory.

Online orthographies

The representation in online environments of non-Roman-based script languages has proved problematic. During the initial years of Computer-mediated Communication, the American Standard Code for Information Interchange character set only supported Roman-alphabeted languages. The solution for speakers of languages written in non-Roman scripts was to employ unconventional writing systems, in an effort to represent their native language in online discourse. The first aim of this chapter is to present the different ways that internet users choose to transliterate or even transcribe their native languages online, using Roman characters. With technological development, and consequently the availability of various writing scripts online, internet users now have the option to either use Roman characters or their native script. If the latter is chosen, internet users still seem to deviate from conventional ways of writing, in this case, however, with regards to spelling. The second aim, therefore, is to bring into light recent developments, by looking at the ways that internet users manipulate orthography, to achieve their communicative purposes.

TCL/TK for EDA tools

Tcl/Tk scripting language has become the de-facto standard for EDA tools. This paper explains how to start working with Tcl/Tk using simple examples. Two complete applications are presented to show in more detail the capabilities of the language. In one script average power consumption of a digital system is automated. A second script creates a virtual display driven by the simulation of a graphic card.