A simple device for multiplex ELISA made from melt-extruded plastic microcapillary film

We present a simple device for multiplex quantitative enzyme-linked immunosorbant assays (ELISA) made from a novel melt-extruded microcapillary film (MCF) containing a parallel array of 200µm capillaries along its length. To make ELISA devices different protein antigens or antibodies were immobilised inside individual microcapillaries within long reels of MCF extruded from fluorinated ethylene propylene (FEP). Short pieces of coated film were cut and interfaced with a pipette, allowing sequential uptake of samples and detection solutions into all capillaries from a reagent well. As well as being simple to produce, these FEP MCF devices have excellent light transmittance allowing direct optical interrogation of the capillaries for simple signal quantification. Proof of concept experiments demonstrate both quantitative and multiplex assays in FEP MCF devices using a standard direct ELISA procedure and read using a flatbed scanner. This new multiplex immunoassay platform should find applications ranging from lab detection to point-of-care and field diagnostics.

The cry of the owl: investigating decision-making in a contemporary feature film

This article extends the traditions of style-based criticism through an encounter with the insights that can be gained from engaging with filmmakers at work. By bringing into relationship two things normally thought of as separate: production history and disinterested critical analysis, the discussion aims to extend the subjects which criticism can appreciate as well as providing some insights on the creative process. Drawing on close analysis, on observations made during fieldwork and on access to earlier cuts of the film, this article looks at a range of interrelated decision-making anchored by the reading of a particular sequence. The article examines changes the film underwent in the different stages of production, and some of the inventions deployed to ensure key themes and ideas remained in play, as other elements changed. It draws conclusions which reveal perspectives on the filmmaking process, on collaboration, and on the creative response to material realities. The article reveals elements of the complexity of the process of the construction of image and soundtrack, and extends the range of filmmakers’ choices which are part of a critical dialogue. Has a relationship to ‘Sleeping with half open eyes: dreams and realities in The Cry of the Owl’, Movie: A Journal of Film Criticism, 1, (2010) which provides a broader interpretative context for the enquiry.

Wave trapping in a two-dimensional sound-soft or sound-hard acoustic waveguide of slowly-varying width

In this paper we derive novel approximations to trapped waves in a two-dimensional acoustic waveguide whose walls vary slowly along the guide, and at which either Dirichlet (sound-soft) or Neumann (sound-hard) conditions are imposed. The guide contains a single smoothly bulging region of arbitrary amplitude, but is otherwise straight, and the modes are trapped within this localised increase in width. Using a similar approach to that in Rienstra (2003), a WKBJ-type expansion yields an approximate expression for the modes which can be present, which display either propagating or evanescent behaviour; matched asymptotic expansions are then used to derive connection formulae which bridge the gap across the cut-off between propagating and evanescent solutions in a tapering waveguide. A uniform expansion is then determined, and it is shown that appropriate zeros of this expansion correspond to trapped mode wavenumbers; the trapped modes themselves are then approximated by the uniform expansion. Numerical results determined via a standard iterative method are then compared to results of the full linear problem calculated using a spectral method, and the two are shown to be in excellent agreement, even when $\epsilon$, the parameter characterising the slow variations of the guide’s walls, is relatively large.

The Extras Regina, 2008

Project includes: a large scale live performance and resulting performance video, at Curtain Razors, Regina Queen’s Square, Regina, 2008 Live Performance, 45 mins, incl. 1 actor, 23 extras, 2 live cameras, live video and sound mixing, stage set, video projection. Video 45 mins Video Trailer 7 mins The Extras is a video performance referencing the form of a large live film shoot. The Extras contextualises contemporary Westerns genres within an experimental live tableau. The live performance and resulting 45 mins video make reference 19th century Western Author German Karl May, the tradition of Eastern European Western, (Red Western), Uranium exploitation and entrepreneurial cultures in the Canadian Prairies. Funded by the Canada Council for the Arts, Saskatchewan Arts Board and Curtain Razors, the Extras Regina was staged and performed at Central Plaza in Regina, with a crew of 23 extras, 2 live cameras, live video and sound mixing ad video projection. It involved research in Saskatchewan film and photographic archives. The performance was edited live and mixed with video material which was shot on location, with a further group of extras at historical historical ‘Western’ locations, including Fort Qu' Appelle, 
Castle Butte and Big Muddy. It also involved a collaboration with a local theatre production company, which enacted a dramatised historical incident.

Children with Special Educational Needs as film makers: Using digital video to support Understandings of Narrative

The literature has identified issues around transitions among phases for all pupils (Cocklin, 1999) including pupils with special educational needs (SEN) (Morgan 1999, Maras and Aveling 2006). These issues include pupils’ uncertainties and worries about building size and spatial orientation, exposure to a range of teaching styles, relationships with peers and older pupils as well as parents’ difficulties in establishing effective communications with prospective secondary schools. Research has also identified that interventions to facilitate these educational transitions should consider managerial support, social and personal familiarisation with the new setting as well as personalised learning strategies (BECTA 2004). However, the role that digital technologies can play in supporting these strategies or facilitating the role of the professionals such as SENCos and heads of departments involved in supporting effective transitions for pupils with SEN has not been widely discussed. Uses of ICT include passing references of student-produced media presentations (Higgins 1993) and use of photographs of activities attached to a timetable to support familiarisation with the secondary curriculum for pupils with autism (Cumine et al. 1998).

Prêt-à-Médiatiser by House of POLLYFIBRE

Prêt-à-Médiatiser by House of POLLYFIBRE is a performance/film that takes the fashion show catwalk as a site for exploration, with a focus on the dialogue between liveness and mediatisation. The performance showcases a clothing collection that has been designed to be documented and thus is challenged in the context of the live event. Motivated by the 2-dimensionality and biased perspective of mediated images such as magazine photography, social network profiles images and the surfaces of digital interfaces, the garments are one sided and obstruct the models in their attempt to play out familiar fashion poses, unless they align themselves 'correctly' for the lense. There is material metaphor and wordplay throughout, for example the clothing pieces are made from interfacing fabrics that are physically cut, pasted and layered to create the rigid flat silhouettes. The performance is accompanied by live sound created by tools of the fashion industry (including scissors and camera clicks) that have been adapted and amplified to be used as instruments. The audience and press are invited to document the live event and the subsequent film is made using footage collated from the crew, the audience and the official press

Surviving Objects

Surviving Objects (2012) is a devised multi-media practice-as-research performance based on extensive interviews conducted with my elderly mother and recorded on a hand-held device. Our conversations concern her experiences as a child refugee following violent deportation by the Soviet Army from Eastern Poland to Siberia (1941), and her subsequent route, via Persia, to a British-run refugee camp in Northern Rhodesia, where she remained for 6 years before arriving in the UK. In order to aid my mother’s reflections, our recorded conversations focus on the objects remaining from that period in her life – my ‘inheritance’. The material presence of this handful of objects is central to the ninety-minute performance. Surviving Objects constitutes my attempt to locate a theatrical form through which to root/re-route this engagement with my mother’s marginalised voice. The end-on performance haptically navigates themes of intimacy and failing memory – navigates, indeed, my constantly shifting relationship with my mother. It searches for new cross-medial pathways along which her experience, and my experience of her, can play-out. Surviving Objects involves: 1. live performance (two silent female actors handling/presenting my mother’s objects); 2. Film (two synchronously-playing, large-scale projections exploring the objects by means of a highly-magnifying macro lens); 3. Pre-recorded sound (my mother’s voice, taken from our recorded interviews, which were conducted in Polish, with my own verbal contribution meticulously editorially excised from those conversations); 4. My translation of her stories (appearing periodically as written text that ‘overlays’ - rather than sub- or surtitles - the projected imagery).

Auditory distraction eliminates retrieval induced forgetting: implications for the processing of unattended sound

The Retrieval-Induced Forgetting (RIF) paradigm includes three phases: (a) study/encoding of category exemplars, (b) practicing retrieval of a sub-set of those category exemplars, and (c) recall of all exemplars. At the final recall phase, recall of items that belong to the same categories as those items that undergo retrieval-practice, but that do not undergo retrieval-practice, is impaired. The received view is that this is because retrieval of target category-exemplars (e.g., ‘Tiger’ in the category Four-legged animal) requires inhibition of non-target category-exemplars (e.g., ‘Dog’ and ‘Lion’) that compete for retrieval. Here, we used the RIF paradigm to investigate whether ignoring auditory items during the retrieval-practice phase modulates the inhibitory process. In two experiments, RIF was present when retrieval-practice was conducted in quiet and when conducted in the presence of spoken words that belonged to a category other than that of the items that were targets for retrieval-practice. In contrast, RIF was abolished when words that either were identical to the retrieval-practice words or were only semantically related to the retrieval-practice words were presented as background speech. The results suggest that the act of ignoring speech can reduce inhibition of the non-practiced category-exemplars, thereby eliminating RIF, but only when the spoken words are competitors for retrieval (i.e., belong to the same semantic category as the to-be-retrieved items).

The Prophetic Sound: a day and night of noise cabaret(symposium of talks and live performances)

'The Prophetic Sound: a day and night of noise cabaret' is the first event hosted by Agency of Noise. This all day event brought together artists and academics whose subject of focus is noise (in creative practice). Artists from across the UK were invited to consider a future post-digital era in which everything with a microchip has malfunctioned, as a thought exercise and starting point for response through sound. In response to Jacques Attali’s claim that music is prophecy, The Prophetic Sound asks us to consider if noise can communicate in an unbridled, unfiltered, way that is somehow not culturally coded -before it becomes sound that is recognised, refined, manipulated and exploited for musical or other cultured purpose. Featuring students from Reading, Brighton, LCC and Goldsmiths alongside more established artists and academics from across the UK, this event brings into focus locations where pattern, timbre, pitch, organisation and sequencing of sounds become distinguishable from noise and asks us to consider, through diversion within such locations, new origins for future communication systems. The Prophetic Sound included talks, films, presentations and performances from: Ryo Ikeshiro / Inigo Wilkins / Neal Spowage / Dane Sutherland / Poulomi Desai / Benedict Drew / AAS / Polly Fibre / Steven Dickie As part of The Prophetic Sound, POLLYFIBRE (Ellison, C.) performed LIVE RECORDING with Amplified Scissors. This industrial activity by POLLYFIBRE short-circuits the complicated chain that is music production. The distinctive roles of consumer, producer, composer, and performer collapse in a series of live ‘cuts’ where vinyl discs are produced with amplified scissors. Production happens through action and action becomes production. A limited edition of 9 flexi discs were produced and available for special collectors at the event.

W(h)ither phonological awareness? Literate trainee teachers’ lack of stable knowledge about the sound structure of words

Recent national developments in the teaching of literacy in the early years in the UK mean that teachers need to have explicit fluent knowledge of the sound structure of the language and its relationship to orthography in order to teach reading effectively. In this study, a group of 38 graduate trainee primary teachers were given a pencil and paper test of phonological awareness as part of a course on teaching literacy. Results from the pencil and paper test were used as the basis of teaching about the sound structure of words. The test was repeated six months later. The results showed that they did not use a consistent system for segmenting words into component sounds. Though there was substantial improvement on second testing, many trainees still did not show evidence that they had yet developed sufficient insights into the sound structure of words to be able to teach children about phonemes with certainty. It is argued that student teachers need substantial explicit training and practice in manipulating the sound structure of words to enable them to teach this aspect of language confidently.