Playing in the Shadows

The exhibition categorises and sets out the last nine years of PS2's 'external' projects. The projects are located mainly at empty sites and public spaces, in locations which are under-resourced in terms of cultural provisions and community facilities. The exhibition categorises the projects, highlighting the unique features of the work. It is accompanied by an essay and seminar.

Limited range coverage problems

Tal como o título indica, esta tese estuda problemas de cobertura com alcance limitado. Dado um conjunto de antenas (ou qualquer outro dispositivo sem fios capaz de receber ou transmitir sinais), o objectivo deste trabalho é calcular o alcance mínimo das antenas de modo a que estas cubram completamente um caminho entre dois pontos numa região. Um caminho que apresente estas características é um itinerário seguro. A definição de cobertura é variável e depende da aplicação a que se destina. No caso de situações críticas como o controlo de fogos ou cenários militares, a definição de cobertura recorre à utilização de mais do que uma antena para aumentar a eficácia deste tipo de vigilância. No entanto, o alcance das antenas deverá ser minimizado de modo a manter a vigilância activa o maior tempo possível. Consequentemente, esta tese está centrada na resolução deste problema de optimização e na obtenção de uma solução particular para cada caso. Embora este problema de optimização tenha sido investigado como um problema de cobertura, é possível estabelecer um paralelismo entre problemas de cobertura e problemas de iluminação e vigilância, que são habitualmente designados como problemas da Galeria de Arte. Para converter um problema de cobertura num de iluminação basta considerar um conjunto de luzes em vez de um conjunto de antenas e submetê-lo a restrições idênticas. O principal tema do conjunto de problemas da Galeria de Arte abordado nesta tese é a 1-boa iluminação. Diz-se que um objecto está 1-bem iluminado por um conjunto de luzes se o invólucro convexo destas contém o objecto, tornando assim este conceito num tipo de iluminação de qualidade. O objectivo desta parte do trabalho é então minimizar o alcance das luzes de modo a manter uma iluminação de qualidade. São também apresentadas duas variantes da 1-boa iluminação: a iluminação ortogonal e a boa !-iluminação. Esta última tem aplicações em problemas de profundidade e visualização de dados, temas que são frequentemente abordados em estatística. A resolução destes problemas usando o diagrama de Voronoi Envolvente (uma variante do diagrama de Voronoi adaptada a problemas de boa iluminação) é também proposta nesta tese.

Polioxometalatos: dos agregados moleculares a redes e materiais

Esta dissertação teve como objectivo principal a preparação de novos materiais luminescentes contendo lantanopolioxometalatos. Foram utilizados polioxometalatos (POMs) do tipo Keggin, Wells-Dawson e [Ln(M5O18)2]9- com M (VI) = W, Mo contendo diferentes iões lantanídeo. Foram sintetizados materiais híbridos orgânico-inorgânicos com base em lantanopolioxometalatos e ligandos orgânicos. O efeito da coordenação destes ligandos orgânicos na luminescência dos iões lantanídeo (efeito de antena) foi investigado para os ácidos picolínico e 3-hidroxipicolínico. Os estudos de fotoluminescência destes materiais permitiram mostrar a existência de um processo de sensitização da emissão dos iões lantanídeo através de fenómenos de transferência de energia dos ligandos e do POM para o centro emissor. No caso particular dos materiais híbridos contendo POMs do tipo Wells-Dawson, a introdução do ligando orgânico levou à intensificação da absorção de energia através do POM, a qual era praticamente inexistente nos correspondentes lantanopolioxometalatos. Prepararam-se nanocompósitos do tipo “core/shell” contendo POMs e híbridos orgânico-inorgânicos como núcleo rodeados por uma camada de sílica. Os nanocompósitos preparados apresentam uma estrutura “core/shell” bem definida com um diâmetro médio de aproximadamente 35 nm. As técnicas de microscopia electrónica, nomeadamente o mapeamento por EDX, permitiram confirmar a presença dos POMs no núcleo das nanopartículas de sílica. A biofuncionalização destes nanocompósitos com um anticorpo foi estudada, com vista à potencial aplicação destes sistemas como biomarcadores ópticos. Os estudos de microscopia de fluorescência permitiram observar a emissão do Eu3+ presente nas nanopartículas biofuncionalizadas com o anticorpo, utilizando excitação na zona do ultravioleta. Estes resultados reforçam a viabilidade da aplicação destes sistemas como marcadores celulares em alternativa a “quantum dots” e corantes orgânicos. No âmbito dos nanomateriais, foi também preparado um material constituído por partículas de Na9[Eu(W5O18)2] de dimensões nanométricas, utilizando micelas invertidas como nanoreactores, de forma a limitar o tamanho das partículas. Foi realizada a preparação de novos materiais lamelares luminescentes por intercalação de POMs e respectivos materiais híbridos em argilas aniónicas de zinco e alumínio. A intercalação foi realizada através de um método de troca aniónica directa usando uma argila contendo nitrato como anião precursor. O estudo por difracção de raios-X revelou-se uma técnica fundamental na caracterização destes materiais, nomeadamente através da determinação da altura de galeria. A partir deste parâmetro foi possível verificar a orientação da espécie intercalada na argila. No caso da intercalação do anião do tipo Keggin, o estudo por RMN de 31P MAS permitiu identificar a espécie intercalada na argila. As propriedades de luminescência foram estudadas para a generalidade dos novos materiais preparados.

Biodiversity and conservation of the middle-Araguaia herpetofauna

A conservação da biodiversidade nunca foi uma assunto tão popular como nas últimas décadas, mas esta popularidade crescente é devida à pior das razões: o passo acelerado da extinção de espécies e habitats. Os ecossistemas tropicais são, ao mesmo tempo, os mais diversos e os mais ameaçados, em parte porque muitos países destas regiões emergem ainda de situações de instabilidade social, económica e política. O Brasil é o maior país Neotropical, onde se encontram alguns dos biomas com maior diversidade e mais ameaçados do planeta. Actualmente, é também um país líder ao nível da planificação e implementação de medidas de conservação da biodiversidade. Vários dos biomas tropicais mais diversos e ameaçados encontram-se em território brasileiro. Dois destes biomas, a Amazónia e o Cerrado, convergem numa região ecotonal sujeita a uma elevada pressão humana, conhecida como o arco do desmatamento. O Araguaia, um dos maiores rios do Brasil, corre ao longo desta paisagem e os efeitos do desmatamento são já evidentes em toda a sua bacia. Por causa do acelerado ritmo de degradação deste ecossistema, torna-se urgente obter uma imagem clara da biodiversidade regional e compreender como e se a estratégia de conservação para esta região é capaz de lidar com as correntes ameaças e alcançar o seu objectivo a longo prazo: conservar a biota regional. Tendo a herpetofauna como grupo-alvo, os nossos objectivos principais foram: aumentar o conhecimento das comunidades de anfíbios e répteis squamata da região do curso médio do Rio Araguaia; compreender a importância deste rio nos padrões intraespecíficos de estrutura e diversidade genética para diferentes espécies com diferentes características ecológicas; avaliar o potencial de diferentes metodologias para o estudo e monitorização da herpetofauna regional. Os nossos resultados revelam que a amostragem continuada e o uso de diferentes técnicas são essenciais para a obtenção de uma imagem precisa da diversidade da herpetofauna local. As comunidades locais de anfíbios e lagartos apresentaram maior riqueza específica na Área de Protecção Ambiental Bananal/Cantão (APABC), uma área tampão, do no Parque Estadual do Cantão (PEC), uma área de conservação estrita. A APABC é caracterizada por uma maior heterogeneidade de habitats e os nosso resultados corroboram a teoria da heterogeneidade espacial e resultados recentes que revelam uma maior diversidade de lagartos nas zonas interfluviais do Cerrado, do que nas matas de galeria. Os resultados aqui apresentados não corroboram a hipótese de que os ecótonos apresentam maior diversidade do que os biomas em redor. Os nossos resultados revelaram ainda que o Rio Araguaia afecta de forma diferente a estrutura genética de várias espécies de anfíbios e lagartos. Estas diferenças poderão estar relacionadas com a ecologia das espécies, nomeadamente com o uso de diferentes habitats, a vagilidade, ou a estratégia alimentar. Sugerimos que a gestão integração de diferentes unidades de conservação, com diferentes estatutos, podem ajudar a preservar melhor a biota regional.

The Negligent Eye

An exhibition which explores artists use of scanners and the implications of this form of mediation. the exhibition aims to explore the social philosophical and aesthetic implications of scanning both as a technology and a form of attention due to the ever increasing speed of image circulation and production.This builds on former research such as Print in 3D at the V&A in 2009.

Emerging Technologies

This book, written when Walker was Visiting Professor at the Technical University Munich in 2011, describes his research on the effects of digital technology on architectural design and construction, and on the development of ‘digital craft’. The primary example given is The Swarm, a digitally designed and manufactured pavilion, produced with students while Walker was at TU Munich. It now stands outside the Bayerischen Architektenkammer (Bavarian Chamber of Architects) in Munich. Through such research-by-design, Walker asks larger questions: what can designers craft without a master craftsman’s skills, and how can craft skills be recovered through digital fabrication? Another example in the book is the Swoosh Pavilion, one of two public-space-scale architectural pavilion prototypes Walker developed between 2008 and 2009 at the Architectural Association (AA), using applied digital modelling and CNC techniques to investigate methods of teaching and testing digital processes through making. Swoosh (2008) and a second AA pavilion, Driftwood (2009), were discussed by Walker and Martin Self, his co-investigator, in ‘Fractal, bad hair, Swoosh and Driftwood pavilions of Intermediate Unit 2, 2006–2009’, published in the AD reader, Manufacturing the Bespoke (2012), which includes essays by well-known critics and designers such as Mathias Kohler and Michael Stacey. Both AA pavilions were sponsored by FinnForest Merk, Arup, HOK and Building Design Magazine, and were seen by large international audiences in Bedford Square, London during the 2008–9 ‘AA Projects Review’ shows. The book Making Pavilions (Walker and Self, AA Agenda No. 9, Architectural Association Press, 2011) also discusses their work over seven years of teaching at the Architectural Association. At the same time, Walker collaborated on a series of Serpentine pavilions, commissioned annually by the Serpentine Gallery, London, co-designing these experimental structures with internationally renowned architects Daniel Libeskind, Oscar Niemeyer, Toyo Ito and Alvaro Siza.

Digital Technologies and the Museum Experience

This co-edited book focuses on core theories and research on technologies, from the first audio guides to contemporary and future mobile digital devices, which inform practical design considerations. It is framed in case studies and focuses generally on informal learning by museum and gallery visitors. The book fills a significant gap in the literature on museum practice with regard to uses of digital technologies, which are not generally grounded in rigorous research, and is intended to retain its relevance as technologies evolve and emerge. The book includes chapters by invited authors from the USA, UK and Europe who contribute expertise in a number of areas of museum research and practice. The research resulted in invited keynote speeches in France (‘Technologie de l’apprentissage humain dans les musées’ seminar at Laboratoire d’Informatique de Grenoble on 5 March 2009), Iceland (keynote at ‘NODEM Network of Design and Digital Heritage’ conference on 3 December 2008) and London (Keynote at ‘Mobile Learning Conference’ on 26 January 2009). The book was given the highest recommendation ('Essential') by the American Library Association, and was reviewed in MedieKultur (2011, 50, 185–92). Walker’s chapter includes some of the initial findings from his PhD research on visitor-constructed trails in museums, which shifts focus from the design of technologies to the design of activities intended to structure the use of technologies, and constitutes some of the first published research on visitor-generated trails using mobile technologies. Structures such as trails are shown to act as effective mental models for museum visitors, especially structures with a narrow subject focus and manageable amount of data capture; those created as a narrative or a conversation; and those that emphasise construction, rather than data capture. Walker also selected most of the other chapter authors, suggested their topics and led the editing of the publication.

Exploring the Roles of Technology and Social Play in Art Museums

This co-written chapter was included in an edited book featuring invited authors from different countries and different areas of museum research and practice. The chapter uses a theory of play by Johan Huizinga (1938) to frame case studies of play-based interactive experiences in museums in various countries. The aim was to use theory to ground museum practice, in order to evaluate existing practical implementations as well as to inform the design of new ones. The book was nominated as one of the 10 best museum education books of 2011 by Museum Education Monitor, and the chapter led to a subsequent technology residency the author undertook in the Spike Island gallery, Bristol in 2012, funded by the National Endowment for Science, Technology and the Arts, Arts and Humanities Research Council and Arts Council England. It also informed his subsequent postgraduate teaching, an example of which is a recent MA project, which deconstructs play from a computational perspective. Collaborations have continued with the co-author, which have resulted in a number of invited lectures. In this chapter the authors explore play as a structure for supporting visitor learning, drawing from international research in museums and interaction design. Four aspects of play first proposed by Huizinga are explored – the free-choice aspect of play, play as distinct from real life, play as an ordering structure, and the role of play in bridging communities. The chapter argues that play provides museums with ready-made structures and concepts, which can help planning for visitor learning. The research was equally divided between the co-authors, who developed the conceptual and theoretical aspects of the article by drawing on their own research alongside key examples of museum design and digital media.

In and Out of Synch

A 16mm moving image work and expanded cinema performance co-commissioned by Tate Modern and Arnolfini. Shot at the post-production facilities of Pinewood studios, London, the close-up sequences feature abstract patterns of optical sound encoded as light, printed onto the soundtrack area of the filmstrip. The film features the quivering light of a 16mm mono and a 35mm stereo optical sound camera, providing a seismic glimpse at a sound-wave in formation, on occasions flashing like a stroboscopic Rorschach inkblot. Performances: Tate Modern Oil Tanks (London 2012); Arnfolini (Bristol 2012); Kunstnernes Hus, (Oslo 2013). Exhibitions: Two-person exhibition at Castlefield Gallery, (Manchester 2013). Screenings: Mini-retrospective screening and in conversation with Lis Rhodes, Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016); Mini-retrospective screening, Gertrude Contemporary (Melbourne 2016).

Oramics: Atlantis Anew

A moving image work co-commissioned by the Science Museum (London), with extensive unprecedented access to the Oramics archive at Goldsmiths College and the Science Museum. Conceived of as an Artist's film in homage to Daphne Oram, the pioneer of British Electronic Music and co-founder of the BBC Radiophonic workshop in 1958, the film features a close-up encounter with her unique invention, the Oramics Machine, housed at the Science Museum in London. Oram used drawn sound principles to compose ‘handwrought' electronic music, and yet the visual nature of her work remains largely unseen and unsung. Exhibitions: ‘Oramics to Electronica’ Science Museum (London 2011-14); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012); ‘Samsung Art+ Prize’ BFI Southbank, London (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton); Mini-retrospective screening and in conversation with Lis Rhodes, Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016).

Sound Seam

A moving image work based on research with neurologists and audiologists, collectors and archivists. The film gives voice to the idea that every surface, in particular parts of our anatomy, is potentially inscribed with an unheard sound or echoes of voices from the past. The soundtrack’s musical composition is interlaced with a voice-over which draws on Rainer Maria Rilke’s text 'Primal Sound', where he reflects on the possibility of playing the coronal suture of a skull with a phonograph needle. The film uses microscopic photography, scanning electron microscopy, and sounds of otoacoustic emissions to uncover haunting aural bonescapes. The voiceovers too are recorded using old sound technology as a filter - writing and over-writing of wax cylinder to create unexpected scratches, glitches, loops and echoes. Exhibitions: shown as multi-channel sound/film installation AV festival (Newcastle 2010); solo exhibition at Wellcome Collection (London 2010-11); group exhibition ‘Samsung Art+ Prize’ BFI Southbank (London 2012); group exhibition ‘Transcendence’, Gertrude Contemporary, Melbourne (2014); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton), Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects, Newcastle (special Q&A Aura Satz with Rebecca Shatwell, director of AV festival); Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton; Mini-retrospective at Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016). Publications: ‘Sound Seam’ booklet with contributions by Steven Connor and Tom McCarthy (2010).

The Trembling Line

The Trembling Line is a film and multi-channel sound installation exploring the visual and acoustic echoes between decipherable musical gestures and abstract patterning, orchestral swells and extreme high-speed slow-motion close-ups of strings and percussion. It features a score by Leo Grant and a newly devised multichannel audio system by the Institute of Sound and Vibration Research, University of Southampton. The multi-channel speaker array is devised as an intimate sound spatialisation system in which each element of sound can be pried apart and reconfigured, to create a dynamically disorienting sonic experience. It becomes the inside of a musical instrument, an acoustic envelope or cage of sorts, through which viewers are invited to experience the film and generate cross-sensory connections and counterpoints between the sound and the visuals. Funded by a Leverhulme Artist-in-Residence Award and John Hansard Gallery, with support from ISVR and the Music Department, University of Southampton. The project provided a rare opportunity to work creatively with new cutting edge developments in sound distribution devised by ISVR, devising a new speaker array, a multi- channel surround listening sphere which spatialises the auditory experience. The sphere is currently used by ISVR for outreach and teaching purposes, and has enables future collaborations between music staff and students at Southampton University and staff and ISVR. Exhibitions: Solo exhibition at John Hansard Gallery, Southampton (Dec 2015-Jan 2016), across 5 rooms, including a retrospective of five previous film-works and a new series of photographic stills. Public lectures: two within the gallery. Reviews and interviews: Art Monthly, Studio International, The Quietus, The Wire Magazine.

Between the Bullet and the Hole

Between the Bullet and the Hole is a film centred on the elusive and complex effects of war on women's role in ballistic research and early computing. The film features new and archival high-speed bullet photography, schlieren and electric spark imagery, bullet sound wave imagery, forensic ballistic photography, slide rulers, punch cards, computer diagrams, and a soundtrack by Scanner. Like a frantic animation storyboard, it explores the flickering space between the frames, testing the perceptual mechanics of visual interpolation, the possibility of reading or deciphering the gap between before and after. Interpolation - the main task of the women studying ballistics in WW2 - is the construction or guessing of missing data using only two known data points. The film tries to unpack this gap, open it up to interrogation. It questions how we read, interpolate or construct the gaps between bullet and hole, perpetrator and victim, presence and absence. The project involves exchanges with specialists in this area such as the Cranfield University Forensics department, London-based Forensic Firearms consultancy, the Imperial War Museum, the ENIAC programmers project, the Smithsonian Institute, and Forensic Scientists at Palm Beach County Sheriff's Office (USA). Exhibitions: Solo exhibition at Dallas Contemporary (Texas, Jan-Mar 2016), including newly commissioned lenticular prints and a dual slide projector installation; Group exhibition the Sydney Biennale (Sydney, Mar-June 2016); UK premiere and solo retrospective screening at Whitechapel Gallery (London); forthcoming solo exhibition at Iliya Fridman Gallery (NY, Oct-Dec 2016); Film festivals and screenings: International Film Festival Rotterdam (Jan 2016); Whitechapel Gallery (London Feb 2016); Cornerhouse/Home (Manchester Nov 2016); Public lectures: Whitechapel Gallery with prof. David Alan Grier and Morgan Quaintance; Carriageworks (Sydney) Prof. Douglas Khan; Monash University (Melbourne); Gertrude Space (Melbourne). Reviews and interviews: Artforum, Studio International, Mousse Magazine.

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.

Império e imagem : D. João de Castro e a retórica do Vice-Rei (1505-1548)

Tese de doutoramento, Ciências Sociais (Sociologia Histórica), Universidade de Lisboa, Instituto de Ciências Sociais, 2014