Ballet-Granite

Live Performance, Szuper Gallery + Curtain Razors Dur: 50 mins NTSC HD 2011 Direction/Conception - Susanne Clausen, Pavlo Kerestey, Michele Sereda Performance Installation - Susanne Clausen, Pavlo Kerestey Performers - Jason Cawood, Susanne Clausen, Blair Fornwald, Morgan Garneau, John Hampton, Pavlo Kerestey, Michele Sereda Cave Video - Susanne Clausen and Pavlo Kerestey Sound scape - Szuper Gallery Voice - Michele Sereda Ballet Band - Billy Hughes, Trent Mailander and Otis Young Music - Dance of the Spirits - Danilo Villalta Technical Direction - Kenneth Young Stage Management - Paul Crepeau Sound Support - Jeff Morton Structural Design Consultant - James Phillips and Caragana Production Design Inc Set Assistants - Rebbeca Donison and Shelby Lowe Headress - Alla Sidorenko Costume consultation - Dean Renwick Documentation, Still - Carey Shaw, Szuper Gallery Documentation, Moving - Gabriel Yahyahkeekoot Administration + PR - Carey Shaw and the Mackenzie Art Gallery Poster Design - Rio Saxon Design Produced by Curtain Razors and Szuper Gallery in collaboration with the Mackenzie Art Gallery with the support of the Canada Council for the Arts, the Saskatchewan Arts Board and the City of Regina Arts Advisory Committee.

Étant Ballet

Solo Exhibition, MacKenzie Art Gallery, Regina, Canada, The project engages with current issues around art production and food provision, catastrophe and agriculture, through the medium of a performance installation. Drawing on some of the characteristics of post dramatic theatre, the project aims to develop a new visual narratology for a contemporary art performance. A large scale video installation and construction features both as an installation site and performance set, explores the relationship between performance and food provision, looking at how changes to the organic world, the world of vibrant and edible matter might affect the way we make art. Developed and produced in collaboration with Canadian company Curtain Razors and funded by grants from Canada Council for the Arts, Saskatchewan Arts Board, the project was first commissioned by Curtain Razors and the MacKenzie Art Gallery where it was shown as a major solo exhibition as part of a series of other international programming (including artists such Guy Ben-Ner and Ron Mueck). The project was then included in the 4th Moscow Biennial as part of the landmark ‘Independent’ exhibition at the Art Arsenal in 2011. The project is planned to tour to varies other international venues throughout 2012/13. The exhibition has been reviewed by Gregory Beatty in Prairie Dog, Regina, by at the The Leader Post, The CBC French Canadian Television. Canadian writer curator Timothy Long artist and curator Elwood Jimmy have produced critical essays of the work, which will feature in a major new book, edited by Susanne Clausen, which is expected to be published in 2012. (OnCurating Publications).

Seminar: access all areas

Sensory Objects presented their research and their Sensory Labels for the British Museum at a seminar called Access All Areas organised by the Visitor Users Group.

The Dark Monarch: magic and modernity in British art

This major curated exhibition, publication and events builds on Rowlands’ curatorial research. Working in collaboration with co-curators Martin Clark, Artistic Director, Tate St Ives and Michael Bracewell, cultural historian, the exhibition sought to explore new narratives within British art. The innovative curatorial methodology developed from a fiction found in the infamous novel, The Dark Monarch by Sven Berlin, Gallery Press 1962. The research sought specific archival and collection work that allowed thematic strands to emerge that represented influences across generations. The exhibition features two-hundred artworks, from the Tate Collection, archives and other significant British public and private collections. It examines the development of early Modernism, in the UK, as well as the reappearance of esoteric and arcane references in a significant strand of contemporary art practice. Historical works from Samuel Palmer, Graham Sutherland, Henry Moore and Paul Nash are shown alongside contemporary artists including Derek Jarman, Cerith Wyn Evans, Eva Rothschild, Linder and John Russell. The exhibition includes a key work by Damien Hirst ¬ the first time he has been shown at Tate St Ives and a number of contemporary commissions. The Dark Monarch publication extended the discourse of the research critically examining the tension between progressive modernity and romantic knowledge, the book focuses on the way that artworks are encoded with various histories - geological, mythical and magical. Essays examine magic as a counterpoint to modernity’s transparency and rational progress, but also draw out the links modernity has with notions such as fetishism, mana, totem, and the taboo. Often viewed as counter to Modernism, this collection of essays suggest that these products of illusion and delusion in fact belong to modernity. Drawing together 15 different writers commissioned to explore magic as a counterpoint of liberal understanding of modernity, drawing out links that modernity has with notions of fetish, taboo and occult philosophy. Including essays by Marina Warner, Ilsa Colsell, Philip Hoare, Chris Stephens, Jennifer Higgie and Morrissey.

A survey on sampling and probe methods for inverse problems

The goal of the review is to provide a state-of-the-art survey on sampling and probe methods for the solution of inverse problems. Further, a configuration approach to some of the problems will be presented. We study the concepts and analytical results for several recent sampling and probe methods. We will give an introduction to the basic idea behind each method using a simple model problem and then provide some general formulation in terms of particular configurations to study the range of the arguments which are used to set up the method. This provides a novel way to present the algorithms and the analytic arguments for their investigation in a variety of different settings. In detail we investigate the probe method (Ikehata), linear sampling method (Colton-Kirsch) and the factorization method (Kirsch), singular sources Method (Potthast), no response test (Luke-Potthast), range test (Kusiak, Potthast and Sylvester) and the enclosure method (Ikehata) for the solution of inverse acoustic and electromagnetic scattering problems. The main ideas, approaches and convergence results of the methods are presented. For each method, we provide a historical survey about applications to different situations.

Improving flood models using LiDAR: progress and problems

Airborne scanning laser altimetry (LiDAR) is an important new data source for river flood modelling. LiDAR can give dense and accurate DTMs of floodplains for use as model bathymetry. Spatial resolutions of 0.5m or less are possible, with a height accuracy of 0.15m. LiDAR gives a Digital Surface Model (DSM), so vegetation removal software (e.g. TERRASCAN) must be used to obtain a DTM. An example used to illustrate the current state of the art will be the LiDAR data provided by the EA, which has been processed by their in-house software to convert the raw data to a ground DTM and separate vegetation height map. Their method distinguishes trees from buildings on the basis of object size. EA data products include the DTM with or without buildings removed, a vegetation height map, a DTM with bridges removed, etc. Most vegetation removal software ignores short vegetation less than say 1m high. We have attempted to extend vegetation height measurement to short vegetation using local height texture. Typically most of a floodplain may be covered in such vegetation. The idea is to assign friction coefficients depending on local vegetation height, so that friction is spatially varying. This obviates the need to calibrate a global floodplain friction coefficient. It’s not clear at present if the method is useful, but it’s worth testing further. The LiDAR DTM is usually determined by looking for local minima in the raw data, then interpolating between these to form a space-filling height surface. This is a low pass filtering operation, in which objects of high spatial frequency such as buildings, river embankments and walls may be incorrectly classed as vegetation. The problem is particularly acute in urban areas. A solution may be to apply pattern recognition techniques to LiDAR height data fused with other data types such as LiDAR intensity or multispectral CASI data. We are attempting to use digital map data (Mastermap structured topography data) to help to distinguish buildings from trees, and roads from areas of short vegetation. The problems involved in doing this will be discussed. A related problem of how best to merge historic river cross-section data with a LiDAR DTM will also be considered. LiDAR data may also be used to help generate a finite element mesh. In rural area we have decomposed a floodplain mesh according to taller vegetation features such as hedges and trees, so that e.g. hedge elements can be assigned higher friction coefficients than those in adjacent fields. We are attempting to extend this approach to urban area, so that the mesh is decomposed in the vicinity of buildings, roads, etc as well as trees and hedges. A dominant points algorithm is used to identify points of high curvature on a building or road, which act as initial nodes in the meshing process. A difficulty is that the resulting mesh may contain a very large number of nodes. However, the mesh generated may be useful to allow a high resolution FE model to act as a benchmark for a more practical lower resolution model. A further problem discussed will be how best to exploit data redundancy due to the high resolution of the LiDAR compared to that of a typical flood model. Problems occur if features have dimensions smaller than the model cell size e.g. for a 5m-wide embankment within a raster grid model with 15m cell size, the maximum height of the embankment locally could be assigned to each cell covering the embankment. But how could a 5m-wide ditch be represented? Again, this redundancy has been exploited to improve wetting/drying algorithms using the sub-grid-scale LiDAR heights within finite elements at the waterline.

Zebras, intransigence & semantic apocalypse: problems for dispositional metasemantics

Complete information dispositional metasemantics says that our expressions get their meaning in virtue of what our dispositions to apply those terms would be given complete information. The view has recently been advanced and argued to have a number of attractive features. I argue that that it threatens to make the meanings of our words indeterminate and doesn't do what it was that made a dispositional view attractive in the first place.