Reconstructing The Incredible

An amplified scissors confronts its digital symbol in this audio piece created for RELAY, an online music project devised and curated by Irish musician John Lambert aka Chequerboard. Digital audio editing cuts are placed randomly over scissors sound samples and then performed with the scissors instrument to determine the rhythm of the composition. RELAY creates a chain of sound pieces where each work is created in response to the previous so that ideas and sounds shift, mutate and evolve over time. Commissioned by Model Arts and Niland Gallery, Sligo, (Ireland).

Boundaries and Bridges: the influence of James Cooksey Culwick on the development of the teaching and learning of music in nineteenth century Ireland

James Cooksey Culwick (1845-1907) was born in England. Trained as chorister and organist in Lichfield Cathedral, he moved to Ireland at twenty- one and remained until his death in 1907. Although his reputation as scholar, musician and teacher was acknowledged widely during his lifetime - he received an honorary doctorate from University of Dublin (1893) - little is known about the contribution he made to music education. This paper addresses this gap in the literature and argues that it was Culwick's singular achievement to pay attention to music pedagogy at secondary level, by recognizing that music could be seen as a serious career option for girls, and by providing resources for teachers which emphasised the development of an 'art-feeling' in pupils of all abilities. In addition, he considered Irish music as an art which had significance as music first, and Irish music second, and advocated a 'laudable tolerance' for opposing views on matters of cultural identity to Ireland at the end of the nineteenth century.

Croig Cave: a late Bronze Age ornament deposition and 3,500 years of coastal foraging in NW Mull, Scotland

Activity within caves provides an important element of the later prehistoric and historic settlement pattern of western Scotland. This contribution reports on a small-scale excavation within Croig Cave, on the coast of north-west Mull, that exposed a 1.95m sequence of midden deposits and cave floors that dated bewteen c 1700 BC and AD 1400. Midden analysis indicated the processing of a .... 950 BC, a penannular copper bracelet a discrete ritual episode within the cycle of otherwise potentially mundane activities. Lead isotope analysis indicates an Irish origin for the copper ore. A piece of iron slag within later midden deposits, dated to c 400 BC, along with high frequencies of wood charcoal, suggest that smithing or smelting may have occurred within the cave. High zinc levels in the historic levels of the midden c AD 1200 might indicate intensive processing of seaweed.

Statistical analysis of eight surface ozone measurement series for various sites in Ireland

Data from various stations having different measurement record periods between 1988 and 2007 are analyzed to investigate the surface ozone concentration, long-term trends, and seasonal changes in and around Ireland. Time series statistical analysis is performed on the monthly mean data using seasonal and trend decomposition procedures and the Box-Jenkins approach (autoregressive integrated moving average). In general, ozone concentrations in the Irish region are found to have a negative trend at all sites except at the coastal sites of Mace Head and Valentia. Data from the most polluted Dublin city site have shown a very strong negative trend of −0.33 ppb/yr with a 95% confidence limit of 0.17 ppb/yr (i.e., −0.33 ± 0.17) for the period 2002−2007, and for the site near the city of Cork, the trend is found to be −0.20 ± 0.11 ppb/yr over the same period. The negative trend for other sites is more pronounced when the data span is considered from around the year 2000 to 2007. Rural sites of Wexford and Monaghan have also shown a very strong negative trend of −0.99 ± 0.13 and −0.58 ± 0.12, respectively, for the period 2000−2007. Mace Head, a site that is representative of ozone changes in the air advected from the Atlantic to Europe in the marine planetary boundary layer, has shown a positive trend of about +0.16 ± 0.04 ppb per annum over the entire period 1988−2007, but this positive trend has reduced during recent years (e.g., in the period 2001−2007). Cluster analysis for back trajectories are performed for the stations having a long record of data, Mace Head and Lough Navar. For Mace Head, the northern and western clean air sectors have shown a similar positive trend (+0.17 ± 0.02 ppb/yr for the northern sector and +0.18 ± 0.02 ppb/yr for the western sector) for the whole period, but partial analysis for the clean western sector at Mace Head shows different trends during different time periods with a decrease in the positive trend since 1988 indicating a deceleration in the ozone trend for Atlantic air masses entering Europe.

An assessment of the surface ozone trend in Ireland relevant to air pollution and environmental protection

Hourly data (1994–2009) of surface ozone concentrations at eight monitoring sites have been investigated to assess target level and long–term objective exceedances and their trends. The European Union (EU) ozone target value for human health (60 ppb–maximum daily 8–hour running mean) has been exceeded for a number of years for almost all sites but never exceeded the set limit of 25 exceedances in one year. Second highest annual hourly and 4th highest annual 8–hourly mean ozone concentrations have shown a statistically significant negative trend for in–land sites of Cork–Glashaboy, Monaghan and Lough Navar and no significant trend for the Mace Head site. Peak afternoon ozone concentrations averaged over a three year period from 2007 to 2009 have been found to be lower than corresponding values over a three–year period from 1996 to 1998 for two sites: Cork–Glashaboy and Lough Navar sites. The EU long–term objective value of AOT40 (Accumulated Ozone Exposure over a threshold of 40 ppb) for protection of vegetation (3 ppm–hour, calculated from May to July) has been exceeded, on an individual year basis, for two sites: Mace Head and Valentia. The critical level for the protection of forest (10 ppm–hour from April to September) has not been exceeded for any site except at Valentia in the year 2003. AOT40–Vegetation shows a significant negative trend for a 3–year running average at Cork–Glashaboy (–0.13±0.02 ppm–hour per year), at Lough Navar (–0.05±0.02 ppm–hour per year) and at Monaghan (–0.03±0.03 ppm–hour per year–not statistically significant) sites. No statistically significant trend was observed for the coastal site of Mace head. Overall, with the exception of the Mace Head and Monaghan sites, ozone measurement records at Irish sites show a downward negative trend in peak values that affect human health and vegetation.

Grey waters bright with Neolithic argonauts? Maritime connections and the Mesolithic-Neolithic transition within the 'western seaways' of Britain, c. 5000-3500 BC.

Careful examination of the probable natural conditions for travel in the North Sea and Irish Sea during the late Mesolithic are here combined with the latest radiocarbon dates to present a new picture of the transition to the Neolithic in the British Isles. The islands of the west were already connected by Mesolithic traffic and did not all go Neolithic at the same time. The introduction of the Neolithic package neither depended on seaborne incomers nor on proximity to the continent. More interesting forces were probably operating on an already busy seaway.

The origins of domestic horses in north-west Europe: new direct dates on the horses of Newgrange, Ireland

This paper presents direct radiocarbon measurements on horse skeletal remains from the Beaker period settlement at the site of Newgrange in Ireland, finds which have previously been argued as the earliest domestic horses in Ireland. The new determinations date the horse remains to the Irish Iron Age and shed important new light on the introduction of domestic horses to Ireland and to north-west Europe more generally. Although the new dates undermine the idea for the introduction of horses as part of a ‘Beaker package’, the early use of horse is not well defined archaeologically or chronologically and the earliest use of domestic horses in Ireland and Britain is still uncertain. This paper also identifies evidence for heavy bitting damage on the Iron Age Newgrange horse teeth and presents some possible parallels between the evidence from Newgrange and that at Tara, which has been previously linked with kingship rituals

Diurnal warm-layer events in the western Mediterranean and European shelf seas

We characterize near-surface ocean diurnal warm-layer events, using satellite observations and fields from numerical weather forecasting. The study covers April to September, 2006, over the area 11°W to 17°E and 35°N to 57°N, with 0.1° cells. We use hourly satellite SSTs from which peak amplitudes of diurnal cycles in SST (dSSTs) can be estimated with error ∼0.3 K. The diurnal excursions of SST observed are spatially and temporally coherent. The largest dSSTs exceed 6 K, affect 0.01% of the surface, and are seen in the Mediterranean, North and Irish Seas. There is an anti-correlation between the magnitude and the horizontal length scale of dSST events. Events wherein dSST exceeds 4 K have length scales of ≤40 km. From the frequency distribution of different measures of wind-speed minima, we infer that extreme dSST maxima arise where conditions of low wind speed are sustained from early morning to mid afternoon.

Iris Murdoch

This is an analysis of Iris Murdoch's plays, including The Italian Girl, The Severed Head, The Black Prince, The Three Arrows and The Servants and the Snow. It also assesses Murdoch's significance for theatre in the early 1960s and 70s, as Women's Theatre was beginning to make its mark.

Enid Bagnold

This is an analysis of the plays of Enid Bagnold and an examination of her contribution to British Theatre in the late 1940s and 50s.

Dancing in translation: Irina Brook’s mise en scène of 'Danser à Lughnasa', Jean-Marie Besset’s translation of Brian Friel’s 'Dancing at Lughnasa'

This essay contributes to debates about theatre and cross-cultural encounter through an analysis of Irina Brook’s 1999 Swiss / French co-production of Irish playwright Brian Friel’s Dancing at Lughnasa, in a French translation by Jean-Marie Besset. While the translation and Brook’s mise en scène clearly identified the source text and culture as Irish, they avoided cultural stereotypes, and rendered the play accessible to francophone audiences without entirely assimilating it to a specific Swiss or French cultural context. Drawing on discourses of theatre translation, and concepts of cosmopolitanism and conviviality, the essay focuses on the potential of such textual and theatrical translation to acknowledge specific cultural traces but also to estrange the familiar perceptions and boundaries of both the source and target cultures, offering modes of interconnection across diverse cultural affiliations.

‘Getting known’: Beckett, Ireland and the creative industries

In the context of national and global trends of producing Beckett’s work, this essay will investigate recent productions of Beckett’s drama which originate in Ireland and tour internationally, examining how these relate to the concept of national identity and its marketability, as well the conceptual and material spaces provided by large-scale festival events. In the last few months, Pan Pan has toured its production of All that Fall from Dublin to the Beckett festival in Enniskillen to New York’s BAM. The Gate Theatre, always a powerhouse of Beckett productions, continues its revival of Barry McGovern’s adaptation of Watt; after the Edinburgh festival, the show will play London’s Barbican in March 2013. While originating in Ireland, these productions – those of the Gate in particular – have an international, as well as domestic, appeal. Examining these and forthcoming Gate productions, I query to what extent a theatre company’s cultural origins and international profile may create a perceived sense of authenticity or definitiveness among critical discourses at ‘home’ and abroad, and how such markers of identity are utilized by the marketing strategies which surround these productions. This article will interrogate the potential convergence of the globalized branding of both Beckett’s work and Irish identity, drawing on the writings of Bourdieu to elucidate how identity may be converted into economic and cultural capital, as well as examining the role that the festival event plays in this process.