The Biomuse Trio in Conversation

The Biomuse Trio (R. Benjamin Knapp, Eric Lyon, Gascia Ouzounian) was formed in 2008 to perform computer chamber music integrating performance, laptop processing of sound and the transduction of bio-signals for the control of musical gesture. The work of the ensemble encompasses hardware design, audio signal processing, bio-signal processing, composition, improvisation and gesture choreography. The Biomuse Trio has performed and lectured across North America and Europe, including at BEAM Festival, CHI, Diapason Gallery, Green Man Festival, Issue Project Room, NIME, Science Gallery Dublin, STEIM and TheatreLab NYC.

Architecture and Construction Management at Queens University Belfast:Regional Cultural Centre

The Regional Cultural Centre in Letterkenny is a new 2000sqm arts center containing theatre, galleries, workshops and ancillary offices. The site is set back from the street, on high ground with good views. The form and envelope of the building was derived from geometrically connecting the site with the town’s two other main public buildings, the Cathedral (1901) and new Civic Offices (2002, also designed by MacGabhann Architects). This geometrical connection or vectors informed the geometry and shape of the building. This urban matrix of geometrically connecting three corner stones of society, namely the ecclesiastical headquarters, the administrative head quarters and the art centre helps to improve the town planning and urban design of the disparate and chaotic development that Letterkenny has become.
The large cantilever, which houses a 300sqm gallery, is aligned towards the Civic Offices, marks the entrance, and signifies a change of direction of the pedestrian route past the building, like a modern day obelisk.
The circulation routes and stairs internally provide views towards the civic offices and cathedral, thus reinforcing the connection between the three buildings and helps visitors make some sense of Letterkenny as an urban center. The main stairs and vertical circulation are contained behind the large glazed foyer, which is framed to be viewed externally like a proscenium stage, with visitors to the building passively acting their routes through the building.

Rapid succession of plant associations on the small ocean island of Mauritius at the onset of the Holocene

The island of Mauritius offers the opportunity to study the poorly understood vegetation response to climate change on a small tropical oceanic island. A high-resolution pollen record from a 10 m long peat core from Kanaka Crater (560 m elevation, Mauritius, Indian Ocean) shows that vegetation shifted from a stable open wet forest Last Glacial state to a stable closed-stratified-tall-forest Holocene state. An ecological threshold was crossed at ∼11.5 cal ka BP, propelling the forest ecosystem into an unstable period lasting ∼4000 years. The shift between the two steady states involves a cascade of four abrupt (<150 years) forest transitions in which different tree species dominated the vegetation for a quasi-stable period of respectively ∼1900, ∼1100 and ∼900 years. We interpret the first forest transition as climate-driven, reflecting the response of a small low topography oceanic island where significant spatial biome migration is impossible. The three subsequent forest transitions are not evidently linked to climate events, and are suggested to be driven by internal forest dynamics. The cascade of four consecutive events of species turnover occurred at a remarkably fast rate compared to changes during the preceding and following periods, and might therefore be considered as a composite tipping point in the ecosystem. We hypothesize that wet gallery forest, spatially and temporally stabilized by the drainage system, served as a long lasting reservoir of biodiversity and facilitated a rapid exchange of species with the montane forests to allow for a rapid cascade of plant associations.

‘5 ways to say your prayers’:The Art and Architecture of Curating People, Place and Creativity in a Post-Conflict Context. The Shed, Galway, Ireland 18th June – 23rd July 2013 Includes: 1. Co-Curation of Exhibition with Peter Mutschler, Director of PS² and 2. Morrow’s individual work as part of the exhibition, entitled ‘Departures & Arrivals: Academic Interactions with the Activities, Artists and Archive of PS² ’

This exhibition profiles the curatorial approach of PS² and the work of creative practitioners who have practiced alongside and with the organisation. PS² is a Belfast-based, voluntary arts organisation that initiates projects inside and outside its project space. It seeks to develop a socio-spatial practice that responds to the post-conflict context of Northern Ireland, with particular focus on active intervention and social interaction between local people, creative practitioners, multidisciplinary groups and theorists.
Morrow has collaborated with PS² since its inception in 2005, acting as curatorial advisor specifically on the projects that occur outside PS² . She regards her involvement as a parallel action to her pedagogical explorations within architectural education.

Morrow's personal contribution to the Exhibition aimed to:
-interrogate PS² spatial projects
-contextualise PS² curatorial practice
-open up the analytical framework and extend to similar local practices

The Shed, Galway, Ireland is a joint Galway City Arts and Harbour Company venture. The exhibition subsequently travelled to DarcSpace Gallery, Dublin (Sept 2013).

In the Light Of:After Illuminations by Arthur Rimbaud

poetry

Prehistory - Objects of Power

2001-2 "Prehistory - Objects of Power" gallery, British Museum

California performance tour

Collaborative group improvisations: Betalevel, Los Angeles; KZSU Day of Noise, Stanford; Thingamajigs performance at the Museum of California, Oakland; CCRMA Concert, Stanford; EarMeal LA Art Stream, Los Angeles; Outsound at the Luggage Store Gallery, San Francisco (with Matt Ingalls, John Ingle, Ted Byrnes, Edward Schocker & others).

New Perspectives on the Role of Cultural Intermediaries in Social Inclusion in the UK

Based on interviews with arts administrators responsible for addressing targeted groups labelled “socially excluded,” this paper highlights new understandings of the term “cultural intermediary” (Featherstone 1991; Bourdieu 2000) within art galleries and art centres. It considers the unique role of such figures in crossing the exclusion/inclusion boundary within the arts and developing more personal approaches to marketing activities in their institutions through relationship building. While it is acknowledged here that such workers find themselves in a privileged position in being able to shape questions of taste and particular consumerist dispositions to understanding the art world, little, if not no, effort has been made to understand this process. As such, there remains a void between the cultural policy‐oriented conception of social inclusion, which implies a version of repairing the “flawed consumer” (Bauman 2005), and the way in which such policy is played out on the ground.

Traces of Peter Rice

A review of the events comprising Peter Rice at Queen's including the Traces of Peter Rice Exhibition at the Naughton Gallery

Empowering Art: Reconfiguring narratives of trauma and hope in the Australian national imaginary

Aboriginal art has been the source of much contention between art curators, gallery owners, art critics and Aboriginal artists themselves. Early aesthetic debates about whether so-called traditional works should be considered ethnographic or artistic have led, at times, to conflicts over the rights of Aboriginal people to have their works exhibited according to the criteria applied to other kinds of Western artworks. This article explores how the dilemmas of troubled ethno-histories are critically embodied and reconfigured in texture and colour. It considers the problems that silenced histories pose for those responsible for their display to the public. As Aboriginal images often conceal troubled intercultural encounters it asks how artworks can be used to provide a counter-polemic to national rhetoric as artists seek to reshape and improve intergenerational futures. This text is published as a counterpart to the contribution to Disturbing Pasts from the artist Heather Kamarra Shearer.

As William Morris Said - Strand Lamps

Strand lamps selected for inclusion in this exhibition in the Ruthin Crafts Gallery

Toward Unconstrained Ear Recognition From Two-Dimensional Images

Ear recognition, as a biometric, has several advantages. In particular, ears can be measured remotely and are also relatively static in size and structure for each individual. Unfortunately, at present, good recognition rates require controlled conditions. For commercial use, these systems need to be much more robust. In particular, ears have to be recognized from different angles ( poses), under different lighting conditions, and with different cameras. It must also be possible to distinguish ears from background clutter and identify them when partly occluded by hair, hats, or other objects. The purpose of this paper is to suggest how progress toward such robustness might be achieved through a technique that improves ear registration. The approach focuses on 2-D images, treating the ear as a planar surface that is registered to a gallery using a homography transform calculated from scale-invariant feature-transform feature matches. The feature matches reduce the gallery size and enable a precise ranking using a simple 2-D distance algorithm. Analysis on a range of data sets demonstrates the technique to be robust to background clutter, viewing angles up to +/- 13 degrees, and up to 18% occlusion. In addition, recognition remains accurate with masked ear images as small as 20 x 35 pixels.

Robust 2D Ear Registration and Recognition Based on SIFT Point Matching

Significant recent progress has shown ear recognition to be a viable biometric. Good recognition rates have been demonstrated under controlled conditions, using manual registration or with specialised equipment. This paper describes a new technique which improves the robustness of ear registration and recognition, addressing issues of pose variation, background clutter and occlusion. By treating the ear as a planar surface and creating a homography transform using SIFT feature matches, ears can be registered accurately. The feature matches reduce the gallery size and enable a precise ranking using a simple 2D distance algorithm. When applied to the XM2VTS database it gives results comparable to PCA with manual registration. Further analysis on more challenging datasets demonstrates the technique to be robust to background clutter, viewing angles up to +/- 13 degrees and with over 20% occlusion.