Women in art: the last taboo

The intention of this paper is to explore traditions and current trends in art with particular reference to the depiction of female experiences such as pregnancy, abortion, birth and motherhood. The inclusion and exclusion of such images in art history over time and across societies reflects prevailing attitudes, whilst affirming various stereotypical and gendered constructions developed and sustained within those societies. These constructions in turn relate to criteria defined by class, access to education and notions of femininity. Work by artists which feature aspects of these experiences (particularly childbirth), is considered taboo by many in a Western society which continues to render the essentially female experience as private, invisible and stigmitised and confuses the natural with the sexual. The work of undergraduate art students, inspired by the artwork of women artists who make explicit or are influenced by essentially female experiences, is discussed and attempts made to connect their work to the issues outlined.

Quantitative analysis of accuracy of an inertial/acoustic 6DOF tracking system in motion

An increasing number of neuroscience experiments are using virtual reality to provide a more immersive and less artificial experimental environment. This is particularly useful to navigation and three-dimensional scene perception experiments. Such experiments require accurate real-time tracking of the observer's head in order to render the virtual scene. Here, we present data on the accuracy of a commonly used six degrees of freedom tracker (Intersense IS900) when it is moved in ways typical of virtual reality applications. We compared the reported location of the tracker with its location computed by an optical tracking method. When the tracker was stationary, the root mean square error in spatial accuracy was 0.64 mm. However, we found that errors increased over ten-fold (up to 17 mm) when the tracker moved at speeds common in virtual reality applications. We demonstrate that the errors we report here are predominantly due to inaccuracies of the IS900 system rather than the optical tracking against which it was compared. (c) 2006 Elsevier B.V. All rights reserved.

Conditional symmetric instability in sting-jet storms

Sting jets are transient mesoscale jets of air that descend from the tip of the cloud head towards the top of the boundary layer in severe extratropical cyclones and can lead to damaging surface wind gusts. This recently identified jet is distinct from the well-documented jets associated with the cold and warm conveyor belts. One mechanism proposed for their development is the release of conditional symmetric instability (CSI). Here the spatial distribution and temporal evolution of several CSI diagnostics in four severe storms are analysed. A sting jet has been identified in three of these storms; for comparison, we also analysed one storm that did not have a sting jet, even though it hadmany of the apparent features of sting-jet storms. The sting-jet storms are distinct from the non-sting-jet storms by having much greater andmore extensive conditional instability (CI) and CSI. CSI is released by ascending air parcels in the cloud head in two of the sting-jet storms and by descending air parcels in the other sting-jet storm. By contrast, only weak CI to ascending air parcels is present at the cloud-head tip in the non-sting-jet storm. CSI released by descending air parcels, as diagnosed by decaying downdraught slantwise convective available potential energy (DSCAPE), is collocated with the sting jets in all three sting-jet storms and has a localisedmaximum in two of them. Consistent evolutions of saturated moist potential vorticity are found.We conclude that CSI release has a role in the generation of the sting jet, that the sting jet may be driven by the release of instability to both ascending and descending parcels, and that DSCAPE could be used as a discriminating diagnostic for the sting jet based on these four case-studies.

Squirmish at the Oasis: an evening of performance and rant hosted by Agency of Noise at the Kinsgate Workshsops Trust in affiliation with Camden Arts Centre

Squirmish at the Oasis takes its name from Luigi Russolo's fourth noise network 'Skirmish at the Oasis' performed in Milan in 1913. 100 years on the Agency of Noise contemplate changes in technology and the culture industry that provoke new questions around the deliberate use of noise within music and art. Through live acts of enquiry and experimentation five artists unravel paradoxes associated with the use of noise in art, music and the gallery space. The works challenge tensions, contradictions and possible oxymorons that emerge through the use and acceptance of noise within an artistic framework. Featuring: DAISY DIXON / GRAHAM DUNNING / POLLYFIBRE / DANE SUTHERLAND / MARNIE WATTS

Turbulent structure and scaling of the inertial subrange in a stratocumulus-topped boundary layer observed by a Doppler lidar

The turbulent structure of a stratocumulus-topped marine boundary layer over a 2-day period is observed with a Doppler lidar at Mace Head in Ireland. Using profiles of vertical velocity statistics, the bulk of the mixing is identified as cloud driven. This is supported by the pertinent feature of negative vertical velocity skewness in the sub-cloud layer which extends, on occasion, almost to the surface. Both coupled and decoupled turbulence characteristics are observed. The length and timescales related to the cloud-driven mixing are investigated and shown to provide additional information about the structure and the source of the mixing inside the boundary layer. They are also shown to place constraints on the length of the sampling periods used to derive products, such as the turbulent dissipation rate, from lidar measurements. For this, the maximum wavelengths that belong to the inertial subrange are studied through spectral analysis of the vertical velocity. The maximum wavelength of the inertial subrange in the cloud-driven layer scales relatively well with the corresponding layer depth during pronounced decoupled structure identified from the vertical velocity skewness. However, on many occasions, combining the analysis of the inertial subrange and vertical velocity statistics suggests higher decoupling height than expected from the skewness profiles. Our results show that investigation of the length scales related to the inertial subrange significantly complements the analysis of the vertical velocity statistics and enables a more confident interpretation of complex boundary layer structures using measurements from a Doppler lidar.

Taxonomical musings

In the ‘Object as Subject’ exhibition held at the Stephen Lawrence Gallery, Greenwich University, myself and two other artists showed work which explores the use of the ‘found object’ in their respective practices. My work was selected by the gallery curator David Waterworth. The work exhibited by me, two multi-media pieces and two films, continues my (practice as research) investigation into using everyday objects as starting points for creating work in a variety of mediums including: sculpture, films, installations and multiples. In this work I address a range of subject matters – philosophical, social and cultural. The history of the use of found object in art began in early 20th century European art when Marcel Duchamp and Pablo Picasso independently introduced everyday objects into their practice. My work continues this research.

Group stochastic search for object detection and tracking

A technique is presented for locating and tracking objects in cluttered environments. Agents are randomly distributed across the image, and subsequently grouped around targets. Each agent uses a weightless neural network and a histogram intersection technique to score its location. The system has been used to locate and track a head in 320x240 resolution video at up to 15fps.

'Public Sculpture (The Social)' 2010

Commisssioned by Frieze Art for the Frieze Sculpture Park The project presents the image of a sculpture as a sculpture, installed in the form of a large scale digital print on vinyl stretched over a 14 x 28ft (4.2 x 8.4m) stretcher supported by a scaffolding structure. The image itself depicts a futuristic public sculpture, an ‘impossible’ artwork, referencing Ballard’s descriptions in his book ‘Vermillion Sands’. The work also draws upon examples of rococo ornamentation and the compositional conventions of ‘images of sculpture’ (in art magazines, catalogues, publicity photos) including examples sited in Regents park in previous years. Technical details: The image is printed on vinyl, stretched over a 14 x 28ft (4.2 x 8.4m) wooden stretcher and fixed to a deep buttressed scaffold 8m long by 6.23 deep with IBC water tanks on the back edge as kentledge (4 x I tonne IVC water containers - 1 per bay). The structure is constructed from clean silver Layher system scaffold and wrapped by a dense black mesh netting.

xero, kline & coma

xero, kline & coma is an artist run project space at 258 Hackney Road, London. It’s program, curated by Pil and Galia Kollectiv, focuses primarily on solo exhibitions by internationally established as well as emerging artists. Work by recent graduates King Conny Wobble and David Steans is being shown alongside projects like the Museum of American Art – Berlin, previously included in the Venice and Istanbul Biennales, Jeffrey Vallance, whose recent solo exhibition was at the Warhol Museum, and Plastique Fantastique, whose work has been shown at Tate Britain and the Pratt Manhatten Gallery, New York, with the aim of raising the profile of lesser known artists and allowing others to experiment with work that more institutional contexts don’t always permit. Some of the themes this program has explored have included fictional identities, a-chronological art histories and the mediation of ritual in time-based media. A commitment to critically engaged art is also central to the ethos of the space, and future shows include an exploration of unionism in art by Sophie Carapetian. As well as displaying new work, the gallery hosts events, talks and screenings. Most recently these have included meetings of the Political Currency of Art research group, a discussion and film screening dealing with the theme of ‘hostile objects’ led by Evan Calder Williams and Marina Vishmidt, a book launch for New Lines of Alliance, New Spaces of Liberty by Antonio Negri and Felix Guattari and an event dedicated to the theatre work of Slovenian art collective NSK, featuring a screening of unreleased documentation and a discussion about the future of total performance.