Narrativising the facts: acting in screen and stage docudrama

This article presents findings and seeks to establish the theoretical markers that indicate the growing importance of fact-based drama in screen and theatre performance to the wider Anglophone culture. During the final decade of the twentieth century and the opening one of the twenty-first, television docudrama and documentary theatre have grown in visibility and importance in the UK, providing key responses to social, cultural and political change over the millennial period. Actors were the prime focus for the enquiry principally because so little research has been done into the special demands that fact-based performance makes on them. The main emphasis in actor training (in the UK at any rate) is, as it always has been, on preparation for fictional drama. Preparation in acting schools is also heavily geared towards stage performance. Our thesis was that performers called upon to play the roles of real people, in whatever medium, have added responsibilities both towards history and towards real individuals and their families. Actors must engage with ethical questions whether they like it or not, and we found them keenly aware of this. In the course of the research, we conducted 30 interviews with a selection of actors ranging from the experienced to the recently-trained. We also interviewed a few industry professionals and actor trainers. Once the interviews started it was clear that actors themselves made little or no distinction between how they set about their work for television and film. The essential disciplines for work in front of the camera, they told us, are the same whether the camera is electronic or photographic. Some adjustments become necessary, of course in the multi-camera TV studio. But much serious drama for the screen is made on film anyway. We found it was also the case that young actors now tend to get their first paid employment before a camera rather than on a stage. The screen-before-stage tendency, along with the fundamental re-shaping that has gone on in the British theatre since at least the early 1980s, had implications for actor training. We have also found that theatre work still tends to be most valued by actors. For all the actors we interviewed, theatre was what they liked doing best because it was there they could practice and develop their skills, there they could work most collectively towards performance, and there they could more directly experience audience feedback in the real time of the stage play. The current world of television has been especially constrained in regard to rehearsal time in comparison to theatre (and, to a lesser extent, film). This has also affected actors’ valuation of their work. Theatre is, and is not, the most important medium in which they find work. Theatre is most important spiritually and intellectually, because in theatre is collaborative, intensive, and involving; theatre is not as important in financial and career terms, because it is not as lucrative and not as visible to a large public as acting for the screen. Many actors took the view that, for all the industrial differences that do affect them and inevitably interest the academic, acting for the visible media of theatre, film and television involved fundamentally the same process with slightly different emphases.

Future Monument

Based on a series of collage made from images of mega yachts, the Future Monument looks at the possibility of taking late capitalism more seriously as an ideology than it takes itself seriously. The project asks whether the private display of wealth and power represented by the yacht can be appropriated for a new language of public sculpture. The choreographed live performance of the construction of the large scale monument was scripted to a proposed capitalist manifesto and took place in a public square in Herzliya, Israel. It aimed to articulate the ideology latent in capitalism’s claims to a neutral manifestation of human nature. The Future Monument project was developed through reading seminars taking place at Goldsmiths College, as part of a research strand headed by Pil and Galia Kollectiv on irony and overidentification within the Political Currency of Art research group. This research has so far produced a series of silk screen collage prints, a sculpture commissioned by the Essex Council and a live performance commissioned by the Herzliya Biennale. However, the project is ongoing, with future outputs planned including a curated exhibition and conference in 2012, in collaboration with Matthew Poole, Programme Director of the Centre for Curatorial Studies at the University of Essex.

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.

Slideshow by POLLYFIBRE

A live work where digital and analogue media collide. This work uses the Internet as a central point of departure in that the script is taken from the Wikipedia entry for the word 'slideshow'. Words are randomly extracted and transferred onto photographic 35mm slide to be projected with analogue carousel slide projectors taking the audience into a visual wordplay, from Google to PowerPoint presentation. The sound of projectors is manipulated gradually into a clashing, confrontational, digital/analogue crescendo. 'Slideshow' investigates how information is sourced, navigated and considered in a culture of accelerating mediation. It posits the notion of a post-digital era in which we are increasingly faced with challenging questions of authenticity and authority.

Lord Kelvin’s atmospheric electricity measurements

Lord Kelvin (William Thomson) made important contributions to the study of atmospheric elec- tricity during a brief but productive period from 1859–1861. By 1859 Kelvin had recognised the need for “incessant recording” of atmospheric electrical parameters, and responded by inventing both the water dropper equaliser for measuring the atmospheric potential gradient (PG), and photographic data logging. The water dropper equaliser was widely adopted internationally and is still in use today. Following theoretical consid- erations of electric field distortion by local topography, Kelvin developed a portable electrometer, using it to investigate the PG on the Scottish island of Arran. During these environmental measurements, Kelvin may have unwittingly detected atmospheric PG changes during solar activity in August / September 1859 associated with the “Carrington event”, which is interesting in the context of his later statements that solar magnetic influ- ence on the Earth was impossible. Kelvin’s atmospheric electricity work presents an early representative study in quantitative environmental physics, through the application of mathematical principles to an environmental problem, the design and construction of bespoke instrumentation for real world measurements and recognising the limitations of the original theoretical view revealed by experimental work

Parallel editing, multi-positionality and maximalism: cosmopolitan effects as explored in some art works by Melanie Jackson and Vivienne Dick

Garfield produces a critique of neo-minimalist art practice by demonstrating how the artist Melanie Jackson’s Some things you are not allowed to send around the world (2003 and 2006) and the experimental film-maker Vivienne Dick’s Liberty’s booty (1980) – neither of which can be said to be about feeling ‘at home’ in the world, be it as a resident or as a nomad – examine global humanity through multi-positionality, excess and contingency, and thereby begin to articulate a new cosmopolitan relationship with the local – or, rather, with many different localities – in one and the same maximalist sweep of the work. ‘Maximalism’ in Garfield’s coinage signifies an excessive overloading (through editing, collage, and the sheer density of the range of the material) that enables the viewer to insert themselves into the narrative of the work. In the art of both Jackson and Dick Garfield detects a refusal to know or to judge the world; instead, there is an attempt to incorporate the complexities of its full range into the singular vision of the work, challenging the viewer to identify what is at stake.

A thermoreversible supramolecular polyurethane with excellent healing ability at 45 °C

We report the synthesis and characterization of a healable, elastomeric shape recovery supramolecular polyurethane whose properties result from self-complementary π−π stacking and hydrogen bonding interactions plus phase separation. ESEM analysis and photographic images have revealed that this material can heal at 45 °C in 15 min to recover the mechanical properties of the pristine material with healing efficiencies >99%. This supramolecular polyurethane is also able to recover an applied strain of 25% within 5 min of release of the load.

Monuments should not be trusted exhibition

Monuments Should Not Be Trusted brings together over 30 leading artists and groups from the “golden years” of the Socialist Federal Republic of Yugoslavia - the period between the early 1960s and the mid 1980s. Over 100 artworks and artefacts illuminate the key contradictions of this single party state – built after WWII on socialist principles, yet immersed in “utopian consumerism.” This is the first time in the UK that the art of this period, which has attracted increasing attention, has been shown in the context of the social, economic and political conditions that gave rise to it. It draws on new and innovative research on this period, and features many of its most celebrated artists. The exhibition begins with the rise of consumerism, midway through President Josip Broz Tito’s 37 year presidency, and ends a few years after his death in 1980. As well as artists’ works in moving image, collage, photography, sculpture and painting, the exhibition encompasses music, TV clips and fascinating artefacts, such as gifts made by workers for President Tito’s birthday, and relay batons which were carried across the country and ceremonially presented to him.

Holoprosencephaly and Holoprosencephaly-Like Phenotypes: Review of Facial and Molecular Findings in Patients From a Craniofacial Hospital in Brazil

Here we report on the clinical and genetic data for a large sample of Brazilian patients studied at the Hospital de Reabilitacao de Anomalas Craniofaciais-Universidade de Sao Paulo (HRAC-USP) who presented with either the classic holoprosencephaly or the holoprosencephaly-like (HPE-L) phenotype. The sample included patients without detected mutations in some HPE determinant genes such as SHH, GLI2, SIX3, TGIF, and PTCH, as well as the photographic documentation of the previously reported patients in our Center. The HPE-L phenotype has been also called of HPE ``minor forms"" or ""microforms,"" The variable phenotype, the challenge of genetic counseling, and the similarities to patients with isolated cleft lip/palate are discussed. (c) 2010 Wiley-Liss, Inc.

Comparing methods for sampling large- and medium-sized mammals: camera traps and track plots

Activities involving fauna monitoring are usually limited by the lack of resources; therefore, the choice of a proper and efficient methodology is fundamental to maximize the cost-benefit ratio. Both direct and indirect methods can be used to survey mammals, but the latter are preferred due to the difficulty to come in sight of and/or to capture the individuals, besides being cheaper. We compared the performance of two methods to survey medium and large-sized mammal: track plot recording and camera trapping, and their costs were assessed. At Jatai Ecological Station (S21 degrees 31`15 ``- W47 degrees 34`42 ``-Brazil) we installed ten camera traps along a dirt road directly in front of ten track plots, and monitored them for 10 days. We cleaned the plots, adjusted the cameras, and noted down the recorded species daily. Records taken by both methods showed they sample the local richness in different ways (Wilcoxon, T=231; p;;0.01). The track plot method performed better on registering individuals whereas camera trapping provided records which permitted more accurate species identification. The type of infra-red sensor camera used showed a strong bias towards individual body mass (R(2)=0.70; p=0.017), and the variable expenses of this method in a 10-day survey were estimated about 2.04 times higher compared to track plot method; however, in a long run camera trapping becomes cheaper than track plot recording. Concluding, track plot recording is good enough for quick surveys under a limited budget, and camera trapping is best for precise species identification and the investigation of species details, performing better for large animals. When used together, these methods can be complementary.

Image indexing and retrieval using an ART-2A neural network architecture

Traditional content-based image retrieval (CBIR) systems use low-level features such as colors, shapes, and textures of images. Although, users make queries based on semantics, which are not easily related to such low-level characteristics. Recent works on CBIR confirm that researchers have been trying to map visual low-level characteristics and high-level semantics. The relation between low-level characteristics and image textual information has motivated this article which proposes a model for automatic classification and categorization of words associated to images. This proposal considers a self-organizing neural network architecture, which classifies textual information without previous learning. Experimental results compare the performance results of the text-based approach to an image retrieval system based on low-level features. (c) 2008 Wiley Periodicals, Inc.

Plant Leaf Identification Using Gabor Wavelets

This article presents a novel method of plant classification using Gabor wavelet filters to extract texture filters in a foliar surface. The aim of this promising method is to add to the results obtained by other leaf attributes (such as shape, contour, color, among others), increasing, therefore, the percentage of classification of plant species. To corroborate the efficiency of the technique, an experiment using 20 species from Brazilian flora was done and discussed. The results are also compared with texture Fourier descriptors and cooccurrence matrices. (C) 2009 Wiley Periodicals, Inc. Int J Imaging Syst Technol, 19, 236-243, 2009; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/ima.20201

Precambrian history of the Zona Transversal of the Borborema Province, NE Brazil: Insights from Sm-Nd and U-Pb geochronology

The Borborema Province has three major subprovinces. The northern subprovince lies north of the Patos shear zone and is comprised of Paleoproterozoic cratonic basement with Archean nuclei, plus overlying Neoproterozoic supracrustal rocks and Brasiliano plutonic rocks. The central subprovince occurs between the Patos and Pernambuco shear zones and is mainly comprised of the Zona Transversal. The southern subprovince occurs between the Pernamabuco shear zone and the Sao Francisco craton and is comprised of a tectonic collage of various blocks, terranes, or domains ranging in age from Archean to Neoproterozoic. This report focuses on the Zona Transversal, especially on Brasiliano rocks for which we have the most new information. Paleoproterozoic gneisses with ages of 2.0-2.2 Ga occur discontinuously throughout the Zona Transversal. The Cariris Velhos suite consists of metavolcanic, metasedimentary, and metaplutonic rocks yielding U-Pb zircon ages of 995-960 Ma. This suite is mainly confined to a 100 km wide belt that extends for more than 700 km within the Alto Pajeu terrane. Sm-Nd model ages in metaigneous rocks cluster about 1.3-1.6 Ga, indicating that older crust was involved in genesis of their magmas. Brasiliano supracrustal rocks dominate the Pianco-Alto Brigida terrane, and they probably also constitute significant parts of the Alto Pajeu and Rio Capibaribe terranes. They are only slightly older than early stages of Brasiliano plutonism, with detrital zircon ages at least as young as 620 Ma; most T(DM) ages range from 1.2 to 1.6 Ga. Brasiliano plutons range from ca. 640 to 540 Ma, and their T(DM) ages range from 1.2 to 2.5 Ga. Previous workers have shown significant correlations among U-Pb ages, Sm-Nd model ages, petrology, and geochemistry, and we are able to reinforce and extend these correlations. Stage I plutons formed 640 -610 Ma and have T(DM) ages less than 1.5 Ga. Stage 11 (610-590 Ma) contains few plutons, but coincides with the peak of compressional deformation, metamorphism, and formation of migmatites. Stage III plutons (590 to ca. 575 Ma) have older T(DM) ages (ca. 1.8-2.0 Ga), as do Stage IV plutons (575 to ca. 550 Ma; T(DM) from 1.9 to 2.4 Ga). Stage III plutons formed during the transition from compressional to transcurrent deformation, while Stage IV plutons are mainly post-tectonic. Stage V plutons (550-530 Ma) are commonly undeformed (except along younger shear zones) and have A-type geochemistry. The five stages have distinct geochemical properties, which suggest that the tectonic settings evolved from early, arc-related magma-genesis (Stage I) to within-plate magma-genesis (Stage V), with perhaps some intermediate phases of extensional environments. (C) 2011 Elsevier Ltd. All rights reserved.

Contribution of SHRIMP U-Pb zircon geochronology to unravelling the evolution of Brazilian Neoproterozoic fold belts

The South-American continent is constituted of three major geologic-geotectonic entities the homonym platform (consolidated at the end of the Cambrian) the Andean chain (essentially Meso-Cenozoic) and the Patagonian terrains affected by tectonism and magmatism through almost all of the Phanerozoic The platform is constituted by a series of cratonic nuclei (pre-Tonian fragments of the Rodinia fission) surrounded by a complex fabric of Neoproterozoic structural provinces Two major groups of orogenic processes (plate interaction cycles) constitute the evolution of these provinces the older occurred in the Tonian (smaller in area) and the younger Brasiliano that is present in all provinces The Tonian cycles (pre-Rodinia fission?) are still being sorted out and many questions still need to be answered The Brasiliano orogenic collage events (post-Rodinia fission?) developed in three main stages in part coeval from a province to another and are 650-600 580-560 and 540-500 Ma respectively (the late event reaching the Ordovician) The first group of orogenies is recorded in practically all provinces The third group is restricted to part of the Mantiqueira Province (southeast of the platform Buzios Orogeny) and present in the Pampean province (SW of the platform) For all these groups of orogenic events there are considerable records of rock assemblages related to processes of convergent plate interaction opening accretion collision and further extrusion There is a good correlation between the geologic and geotectonic data and geochemical and isotopic data The late tectonic processes (post-orogenic magmatism foreland basins etc) of the first two groups compete in time in distinct spaces with the peak of orogenic processes in the third group The introduction of the SHRIMP U-Pb methodology was fundamental to separate the Tonian and post-Tonian orogenic groups and their respective divisions in time and space Thus there are still many open points/problems which lead to expectations of addressing these issues in the near future with the more Intense use of this methodology (C) 2010 Elsevier B V All rights reserved

Rhyacian (2.23-2.20 Ga) juvenile accretion in the southern Sao Francisco craton, Brazil: Geochemical and isotopic evidence from the Serrinha magmatic suite, Mineiro belt

The Serrinha magmatic suite (Mineiro belt) crops out in the southern edge of the Sao Francisco craton, comprising the Brito quartz-diorite, Brumado de Cima and Brumado de Baixo granodiorites, granophyres and felsic sub-volcanic and volcanic rocks, part of which intruded into the Nazareno greenstone belt. The suite rocks have petrographic features that are consistent with magma supercooling due to the low water content combined with volatile loss, leading to crystallization of quartz and alkaline feldspar at the rims of plagioclase phenocrysts (granophyric intergrowth). The investigated rocks are sub-alkaline, calc-alkaline and show low content in rare earth elements. The U-Pb zircon crystallization ages for the Brumado de Cima granodiorite [2227 +/- 22 (23) Ma] and a coeval granophyre [2211 +/- 22 (23) Ma], coupled with available single-zircon Pb evaporation ages for the Brito and Brumado de Baixo plutons, are significantly older than the ""Minas orogeny"" (ca. 2100-2050 Ga) of Quadrilatero Ferrifero area, eastward from the Serrinha suite. Our data establish an early Rhyacian event tectonically linked with the evolution of the Mineiro belt. The bulk Nd isotopic signature [low negative to positive epsilon(Nd(t)) values] of the Serrinha samples are consistent with the important role of Paleoproterozoic mantle components in the magma genesis. The integrated geologic, geochemical and isotopic information suggests that Paleoproterozoic evolution of the Mineiro belt initiated in a passive continental margin basin with deposition of the Minas Supergroup at ca. 2500 Ma. This stage was succeeded by outboard rupture of the oceanic lithosphere with development and coalescence of progressively younger magmatic arcs during Rhyacian time. One of the earliest arcs formed the Serrinha suite. The tectonic collage of the Serrinha and Ritapolis (2190-2120 Ma) arcs produced the NE-SW Lenheiro shear zone, resulting in mylonitization and recrystallization of both the granitoid intrusions and host rocks. As a matter of fact juxtaposition of distinct magmatic units in age and origin took place along the Lenheiros structure in this sector of the Mineiro belt. (C) 2009 Elsevier Ltd. All rights reserved.