Landscapes of the invisible: sounds, cosmologies and poetics of space

In this PhD by Publication I revisit and contextualize art works and essays I have collaboratively created under the name Flow Motion between 2004-13, in order to generate new insights on the contributions they have made to diverse and emerging fields of contemporary arts practice/research, including digital, virtual, sonic and interdisciplinary art. The works discussed comprise the digital multimedia installation and sound art performance Astro Black Morphologies/Astro Dub Morphologies (2004-5), the sound installation and performance Invisible (2006-7), the web art archive and performance presentation project promised lands (2008-10), and two related texts, Astro Black Morphologies: Music and Science Lovers (2004) and Music and Migration (2013). I show how these works map new thematic constellations around questions of space and diaspora, music and cosmology, invisibility and spectrality, the body and perception. I also show how the works generate new connections between and across contemporary avant-garde, experimental and popular music, and visual art and cinema traditions. I describe the methodological design, approaches and processes through which the works were produced, with an emphasis on transversality, deconstruction and contemporary black music forms as key tools in my collaborative artistic and textual practice. I discuss how, through the development of methods of data translation and transformation, and distinctive visual approaches for the re-elaboration of archival material, the works produced multiple readings of scientific narratives, digital X-ray data derived from astronomical research on black holes and dark energy, and musical, photographic and textual material related to historical and contemporary accounts of migration. I also elaborate on the relation between difference and repetition, the concepts of multiplicity and translation, and the processes of collective creation which characterize my/Flow Motion’s work. The art works and essays I engage with in this commentary produce an idea of contemporary art as the result of a fluid, open and mutating assemblage of diverse and hybrid methods and mediums, and as an embodiment of a cross-cultural, transversal and transdisciplinary knowledge shaped by research, process, creative dialogues, collaborative practice and collective signature.

Significations et perceptions en architecture dans l’œuvre de Christian Norberg-Schulz

L’architecture au sens strict, qui renvoie à la construction, n’est pas indépendante des déterminations mentales, des images et des valeurs esthétiques, comme références, amenées par divers champs d’intérêt au problème du sens. Elle est, de par ce fait, un objet d’interprétation. Ce qu’on appelle communément « signification architecturale », est un univers vaste dans lequel sont constellées des constructions hypothétiques. En ce qui nous concerne, il s’agit non seulement de mouler la signification architecturale selon un cadre et des matières spécifiques de référence, mais aussi, de voir de près la relation de cette question avec l’attitude de perception de l’homme. Dans l’étude de la signification architecturale, on ne peut donc se détacher du problème de la perception. Au fond, notre travail montrera leur interaction, les moyens de sa mise en œuvre et ce qui est en jeu selon les pratiques théoriques qui la commandent. En posant la question de l’origine de l’acte de perception, qui n’est ni un simple acte de voir, ni un acte contemplatif, mais une forme d’interaction active avec la forme architecturale ou la forme d’art en général, on trouve dans les écrits de l’historien Christian Norberg-Schulz deux types de travaux, et donc deux types de réponses dont nous pouvons d’emblée souligner le caractère antinomique l’une par rapport à l’autre. C’est qu’il traite, dans le premier livre qu’il a écrit, Intentions in architecture (1962), connu dans sa version française sous le titre Système logique de l’architecture (1974, ci-après SLA), de l’expression architecturale et des modes de vie en société comme un continuum, défendant ainsi une approche culturelle de la question en jeu : la signification architecturale et ses temporalités. SLA désigne et représente un système théorique influencé, à bien des égards, par les travaux de l’épistémologie de Jean Piaget et par les contributions de la sémiotique au développement de l’étude de la signification architecturale. Le second type de réponse sur l’origine de l’acte de perception que formule Norberg-Schulz, basé sur sur les réflexions du philosophe Martin Heidegger, se rapporte à un terrain d’étude qui se situe à la dérive de la revendication du fondement social et culturel du langage architectural. Il lie, plus précisément, l’étude de la signification à l’étude de l’être. Reconnaissant ainsi la primauté, voire la prééminence, d’une recherche ontologique, qui consiste à soutenir les questionnements sur l’être en tant qu’être, il devrait amener avec régularité, à partir de son livre Existence, Space and Architecture (1971), des questions sur le fondement universel et historique de l’expression architecturale. Aux deux mouvements théoriques caractéristiques de ses écrits correspond le mouvement que prend la construction de notre thèse que nous séparons en deux parties. La première partie sera ainsi consacrée à l’étude de SLA avec l’objectif de déceler les ambiguïtés qui entourent le cadre de son élaboration et à montrer les types de legs que son auteur laisse à la théorie architecturale. Notre étude va montrer l’aspect controversé de ce livre, lié aux influences qu’exerce la pragmatique sur l’étude de la signification. Il s’agit dans cette première partie de présenter les modèles théoriques dont il débat et de les mettre en relation avec les différentes échelles qui y sont proposées pour l’étude du langage architectural, notamment avec l’échelle sociale. Celle-ci implique l’étude de la fonctionnalité de l’architecture et des moyens de recherche sur la typologie de la forme architecturale et sur sa schématisation. Notre approche critique de cet ouvrage prend le point de vue de la recherche historique chez Manfredo Tafuri. La seconde partie de notre thèse porte, elle, sur les fondements de l’intérêt chez Norberg-Schulz à partager avec Heidegger la question de l’Être qui contribuent à fonder une forme d’investigation existentielle sur la signification architecturale et du problème de la perception . L’éclairage de ces fondements exige, toutefois, de montrer l’enracinement de la question de l’Être dans l’essence de la pratique herméneutique chez Heidegger, mais aussi chez H. G. Gadamer, dont se réclame aussi directement Norberg-Schulz, et de dévoiler, par conséquent, la primauté établie de l’image comme champ permettant d’instaurer la question de l’Être au sein de la recherche architecturale. Sa recherche conséquente sur des valeurs esthétiques transculturelles a ainsi permis de réduire les échelles d’étude de la signification à l’unique échelle d’étude de l’Être. C’est en empruntant cette direction que Norberg-Schulz constitue, au fond, suivant Heidegger, une approche qui a pour tâche d’aborder l’« habiter » et le « bâtir » à titre de solutions au problème existentiel de l’Être. Notre étude révèle, cependant, une interaction entre la question de l’Être et la critique de la technique moderne par laquelle l’architecture est directement concernée, centrée sur son attrait le plus marquant : la reproductibilité des formes. Entre les écrits de Norberg-Schulz et les analyses spécifiques de Heidegger sur le problème de l’art, il existe un contexte de rupture avec le langage de la théorie qu’il s’agit pour nous de dégager et de ramener aux exigences du travail herméneutique, une approche que nous avons nous-même adoptée. Notre méthode est donc essentiellement qualitative. Elle s’inspire notamment des méthodes d’interprétation, de là aussi notre recours à un corpus constitué des travaux de Gilles Deleuze et de Jacques Derrida ainsi qu’à d’autres travaux associés à ce type d’analyse. Notre recherche demeure cependant attentive à des questions d’ordre épistémologique concernant la relation entre la discipline architecturale et les sciences qui se prêtent à l’étude du langage architectural. Notre thèse propose non seulement une compréhension approfondie des réflexions de Norberg-Schulz, mais aussi une démonstration de l’incompatibilité de la phénoménologie de Heidegger et des sciences du langage, notamment la sémiotique.

Building Beyond Limits : Fantastic Collisions Between Bodies and Machines in French and English Fin-de-Siècle Literature

«Construire hors limite: collisions fantastiques entre corps et machines dans la littérature fin-de-siècle française et anglaise» explore un ensemble de textes qui ont surgi à la fin du dix-neuvième siècle en réponse et en réaction à la fulgurante évolution de l’environnement scientifique et technologique, et qui considèrent la relation entre l’homme et la machine en fantasmant sur la zone grise où ils s’intersectent. Les principaux textes étudiés comprennent L’Ève future de Villiers de l’Isle-Adam, Le Surmâle d’Alfred Jarry, Trilby de George Du Maurier, Le Château des Carpathes de Jules Verne, ainsi qu’une sélection de contes dont nous pouvons qualifier de «contes à appareils», notamment «La Machine à parler» de Marcel Schwob. Utilisant la théorie des systèmes comme base méthodologique, cette dissertation cherche à réinterpréter les textes de la fin du dix-neuvième siècle qui naviguent les limites de l’humain et du mécanique et les surfaces sensibles où ils se touchent et interagissent en les réinscrivant dans un projet plus vaste de construction d’identité qui défie le temps chronologique et les échelles mathématiques. Le lien entre la théorie des systèmes et l’architecture – comme méthode d’organisation d’espace blanc en espace habitable – est exploré dans le but de comprendre la manière dont nous façonnons et interprétons le néant à l’origine de l’identité individuelle, et par association collective, en pratiquant littéralement la schématisation et la construction du corps. Des auteurs tels Villiers et Jarry imaginent la construction du corps comme une entreprise scientifique nécessairement fondée et réalisée avec les matériaux et les technologies disponibles, pour ensuite démanteler cette proposition en condamnant le corps technologique à la destruction. La construction d’une identité amplifiée par la technologie prend donc des proportions prométhéennes perpétuellement redessinées dans des actes cycliques de rasage (destruction) et d’érection (édification), et reflétées dans l’écriture palimpsestique du texte. L’intégrité du corps organique étant mis en question, le noyau même de ce que signifie l’être (dans son sens de verbe infinitif) humain pourrait bien s’avérer, si l’on considère la correspondance entre perte de voix et état pathologique dans les textes de Du Maurier, Verne et Schwob, être une structure des plus précaires, distinctement hors sens (unsound).

Impossible Identification : Contemporary Art, Politics and the Palestinians in Israel

Quel est le sens donné à l’art par la minorité palestinienne d’Israël dans un contexte où l’État se définit uniquement en termes ethno-nationaux et religieux ? Les écrits sur l’art en contextes coloniaux et postcoloniaux ont tendance à considérer l’art comme une ressource de revendication identitaire face à une situation de domination. Autrement dit, l’art est souvent présenté comme un acte politique de reconnaissance à travers l’affirmation d’une contre-identité. Suite à un travail intensif de terrain ethnographique dans la région, cette recherche démontre que pour les artistes palestiniens en Israël, l’aspect politique de l’art ne vient pas de sa capacité à exprimer des revendications identitaires. À travers l’observation des pratiques et l’analyse des discours des artistes, elle remet en question la relation présumée entre l'art et l'identité. Plus concrètement, elle analyse les pratiques d’un groupe d’artistes issus d’une minorité nationale indigène dont le travail artistique constitue une interruption des régimes spatiotemporels d'identification. L’aspect politique du travail des artistes palestiniens en Israël s’exprime à travers un processus de désidentification, un refus de réduire l’art à des catégories identitaires dominantes. Les œuvres de ces artistes permettent l’expression d’une rupture esthétique, manifestant un « ayant lieu » politique qui se trouve entre l'art et le non-art. Il s’agit d’un espace qui permet la rupture de l’ordre sensible de la société israélienne à travers l’affirmation et la vérification d’une égalité qui existe déjà.

Irrelevant sound effects amongst younger and older adults: objective findings and subjective insights

Two experiments examine the effects of extraneous speech and nonspeech noise on a visual short-term memory task administered to younger and older adults. Experiment 1 confirms an earlier report that playing task-irrelevant speech is no more distracting for older adults than for younger adults (Rouleau T Belleville, 1996), indicating that "irrelevant sound effects" in short-term memory operate in a different manner to recalling targets in the presence of competing speech (Tun, O'Kane, T Wingfield, 2002). Experiment 2 extends this result to nonspeech noise and demonstrates that the result cannot be ascribed to hearing difficulties amongst the older age group, although the data also show that older adults rated the noise as less annoying and uncomfortable than younger adults. Implications for theories of the irrelevant sound effect, and for cognitive ageing, are discussed.

Ensuring operational compliance and ethical responsibility in the regulation of ART: the HFEA, past, present, and future

Under the Public Bodies Bill 2010, the HFEA, cornerstone in the regulation of assisted reproduction technologies (ART) for the last twenty years, is due to be abolished. This implies that there is no longer a need for a dedicated regulator for ART and that the existing roles of the Authority as both operational compliance monitor, and instance of ethical evaluation, may be absorbed by existing healthcare regulators. This article presents a timely analysis of these disparate functions of the HFEA, charting reforms adopted in 2008 and assessing the impact of the current proposals. Taking assisted conception treatment as the focus activity, it will be shown that the last few years have seen a concentration on the HFEA as a technical regulator based upon the principles of Better Regulation, with little analysis of how the ethical responsibility of the Authority fits into this framework. The current proposal to abolish the HFEA continues to fail to address this crucial question. Notwithstanding the fact that the scope of the Authority's ethical role may be questioned, its abolition requires that the Government consider what alternatives exists - or need to be put in place - to provide both responsive operational regulation and a forum for ethical reflection and decision-making in an area which continues to pose regulatory challenges

Public Art Commission, Where is Heidenheim? Tina O'Connell and Neal White

Research undertaken through significant public art commission. The researchers were both artists were selected separately by Dr Penelope Curtis of Tate and then the shortlist was awarded through competition (peer reviewed by Critics and Artist in Germany) part of the Heidenheim Sculpture Biennial, Germany (€18K). The work was realised by two companies in Heidenheim. Where is Heidenheim? was based within the Heidenheim Zietung newspaper[HZ] and drew together a site of a local paper in a small town in Germany with other local International papers; Wendover Times – Utah, USA;, Limerick Leader, Ireland; Free Imphal Press, Manipur, India; Hibr, Lebanon; Namibia Times, Namibia and The Countryman, Tasmania, Australia. Each of these papers ran a story showing a sign erected onto HZ in Heidenheim, which was subsequently printed inside HZ itself – linking together sites and local voices. Project research identifying global partners was conducted through the management of a PhD research student from the BU Media School - Venkata Vermuri. The work for both artists expands the context of their research into the impact of global networks on public art, and the traditions and norms of public art being confined to single ‘geographical’ sites. This research indicates the potential for media as a common public space that can also be used.

Shoot yield drives phosphorus use efficiency in Brassica oleracea and correlates with root architecture traits

The environmental and financial costs of using inorganic phosphate fertilizers to maintain crop yield and quality are high. Breeding crops that acquire and use phosphorus (P) more efficiently could reduce these costs. The variation in shoot P concentration (shoot-P) and various measures of P use efficiency (PUE) were quantified among 355 Brassica oleracea L. accessions, 74 current commercial cultivars, and 90 doubled haploid (DH) mapping lines from a reference genetic mapping population. Accessions were grown at two or more external P concentrations in glasshouse experiments; commercial and DH accessions were also grown in replicated field experiments. Within the substantial species-wide diversity observed for shoot-P and various measures of PUE in B. oleracea, current commercial cultivars have greater PUE than would be expected by chance. This may be a consequence of breeding for increased yield, which is a significant component of most measures of PUE, or early establishment. Root development and architecture correlate with PUE; in particular, lateral root number, length, and growth rate. Significant quantitative trait loci associated with shoot-P and PUE occur on chromosomes C3 and C7. These data provide information to initiate breeding programmes to improve PUE in B. oleracea.

Materials Collection Creation and Administration: A New Role for Libraries (White Paper)

The Problem/Opportunity: To define, identify, and guide design-based materials collections in academic settings and foster community among those with existing collections and/or those considering creating and supporting one. Contents and topics: What is a materials collection? Why have a materials collection? Acquisition strategies Organizational approaches Programming possibilities Symposium summary Resources

Extracellular matrix of porcine pericardium: Biochemistry and collagen architecture

Pericardial tissue has been used to construct bioprostheses employed in the repair of different kinds of injuries, mostly cardiac. However, calcification and mechanical failure have been the main causes of the limited durability of cardiac bioprostheses constructed with bovine pericardium. In the course of this work, a study was conducted on porcine fibrous pericardium, its microscopic structure and biochemical nature. The general morphology and architecture of collagen were studied under conventional light and polarized light microscopy. The biochemical study of the pericardial matrix was conducted according to the following procedures: swelling test, hydroxyproline and collagen dosage, quantification of amino acids in soluble collagen, component extraction of the extracellular matrix of the right and left ventral regions of pericardium with different molarities of guanidine chloride, protein and glycosaminoglycan (GAG) dosage, sodium dodecyl sulfate-polyacrylamide gel electrophoresis and total GAG analysis. Microscopic analysis showed collagen fibers arranged in multidirectionally oriented layers forming a closely knit web, with a larger number of fibers obliquely oriented, initiating at the lower central region toward the upper left lateral relative to the heart. No qualitative differences were found between proteins extracted from the right and left regions. Likewise, no differences were found between fresh and frozen material. Protein dosages from left frontal and right frontal pericardium regions showed no significant differences. The quantities of extracted GAGs were too small for detection by the method used. Enzymatic digestion and electrophoretic analysis showed that the GAG found is possibly dermatan sulfate. The proteoglycan showed a running standard very similar to the small proteoglycan decorin.

EVOLUTIONARY AESTHETICS AND SEXUAL SELECTION IN THE EVOLUTION OF ROCK ART AESTHETICS

This theoretical proposal applies evolutionary aesthetic, animal signalling and sexual selection to understand our artistic cognition, especially rock art aesthetics. Iconographic motifs, universally found in rock art, indicate which set of pre-artistic aesthetic psychological bias has been co-opted to catch the viewer`s attention. The co-evolutionary process of sexual selection could have shaped the design features of both rock art images and their aesthetic cognition by conferring mutual benefits on both producers, via manipulation, and receivers, via information extraction. We show some strategic techniques identified in rock art and art that indicate the occurrence of this co-evolution between producers and receivers.

Numerical study of Mach number and thermal effects on sound radiation by a mixing layer

Mach number and thermal effects on the mechanisms of sound generation and propagation are investigated in spatially evolving two-dimensional isothermal and non-isothermal mixing layers at Mach number ranging from 0.2 to 0.4 and Reynolds number of 400. A characteristic-based formulation is used to solve by direct numerical simulation the compressible Navier-Stokes equations using high-order schemes. The radiated sound is directly computed in a domain that includes both the near-field aerodynamic source region and the far-field sound propagation. In the isothermal mixing layer, Mach number effects may be identified in the acoustic field through an increase of the directivity associated with the non-compactness of the acoustic sources. Baroclinic instability effects may be recognized in the non-isothermal mixing layer, as the presence of counter-rotating vorticity layers, the resulting acoustic sources being found less efficient. An analysis based on the acoustic analogy shows that the directivity increase with the Mach number can be associated with the emergence of density fluctuations of weak amplitude but very efficient in terms of noise generation at shallow angle. This influence, combined with convection and refraction effects, is found to shape the acoustic wavefront pattern depending on the Mach number.

Luigi Nono: spazio e composizione

Architettura e musica. Spazio e tempo. Suono. Esperienza. Queste le parole chiave da cui ha preso avvio la mia ricerca. Tutto è iniziato dall’intuizione dell’esistenza di un legame tra due discipline cui ho dedicato molto tempo e studio, completando due percorsi accademici paralleli, la Facoltà di architettura e il Conservatorio. Dopo un lavoro d’individuazione e analisi degli infiniti spunti di riflessione che il tema offriva, ho focalizzato l’attenzione su uno degli esempi più emblematici di collaborazione tra un architetto e un musicista realizzatasi nel Novecento: Prometeo, tragedia dell’ascolto (1984), composta da Luigi Nono con la collaborazione di Massimo Cacciari e Renzo Piano. Attraverso lo studio di Prometeo ho potuto affrontare la trattazione di molte delle possibili declinazioni del rapporto interdisciplinare tra musica e architettura. La ricerca si è svolta principalmente sullo studio dei materiali conservati presso l’Archivio Luigi Nono e l’archivio della Fondazione Renzo Piano. La tesi è organizzata in tre parti: una prima parte in cui si affronta il tema del ruolo dello spazio nelle opere di Nono precedenti a Prometeo, facendo emergere l’importanza dell’ambiente culturale e sonoro veneziano; una seconda parte in cui si approfondisce il processo compositivo che ha portato alle rappresentazioni di Prometeo a Venezia, Milano e a Parigi; una terza parte in cui si prende in considerazione quanto avvenuto dopo Prometeo e si riflette sui contributi che questa esperienza può portare alla progettazione di spazi per la musica, analizzando diversi allestimenti dell’opera senza arca e prendendo in considerazione i progetti dell’auditorium dell’International Art Village di Akiyoshidai e della sala della nuova Philharmonie di Parigi. Lo studio dell’esperienza di Prometeo ha lo scopo di stimolare la curiosità verso la ricerca e la sperimentazione di quegli infiniti possibili della composizione architettonica e musicale di cui parla Nono.

Prevalence and predictors of kaposi sarcoma herpes virus seropositivity: a cross-sectional analysis of HIV-infected adults initiating ART in Johannesburg, South Africa

Background Kaposi sarcoma (KS) is the most common AIDS-defining tumour in HIV-infected individuals in Africa. Kaposi sarcoma herpes virus (KSHV) infection precedes development of KS. KSHV co-infection may be associated with worse outcomes in HIV disease and elevated KSHV viral load may be an early marker for advanced HIV disease among untreated patients. We examined the prevalence of KSHV among adults initiating antiretroviral therapy (ART) and compared immunological, demographic and clinical factors between patients seropositive and seronegative for KSHV. Results We analyzed cross-sectional data collected from 404 HIV-infected treatment-naïve adults initiating ART at the Themba Lethu Clinic, Johannesburg, South Africa between November 2008 and March 2009. Subjects were screened at ART initiation for antibodies to KSHV lytic K8.1 and latent Orf73 antigens. Seropositivity to KSHV was defined as positive to either lytic KSHV K8.1 or latent KSHV Orf73 antibodies. KSHV viremia was determined by quantitative PCR and CD3, 4 and 8 lymphocyte counts were determined with flow cytometry. Of the 404 participants, 193 (48%) tested positive for KSHV at ART initiation; with 76 (39%) reactive to lytic K8.1, 35 (18%) to latent Orf73 and 82 (42%) to both. One individual presented with clinical KS at ART initiation. The KSHV infected group was similar to those without KSHV in terms of age, race, gender, ethnicity, smoking and alcohol use. KSHV infected individuals presented with slightly higher median CD3 (817 vs. 726 cells/mm3) and CD4 (90 vs. 80 cells/mm3) counts than KSHV negative subjects. We found no associations between KSHV seropositivity and body mass index, tuberculosis status, WHO stage, HIV RNA levels, full blood count or liver function tests at initiation. Those with detectable KSHV viremia (n = 19), however, appeared to present with signs of more advanced HIV disease including anemia and WHO stage 3 or 4 defining conditions compared to those in whom the virus was undetectable. Conclusions We demonstrate a high prevalence of KSHV among HIV-infected adults initiating ART in a large urban public-sector HIV clinic. KSHV viremia but not KSHV seropositivity may be associated with markers of advanced HIV disease.

Chlorhexidine and preservation of sound tooth structure in older adults. A placebo-controlled trial

The Trial to Enhance Elderly Teeth Health (TEETH) was designed to test the impact of regular rinsing with a 0.12% chlorhexidine (CHX) solution on tooth loss, and the causes of tooth loss (caries, periodontal disease and trauma) were also investigated. This paper reports on the effectiveness of a 0.12% CHX solution for controlling caries using a tooth surface (coronal and root) survival analysis. A total of 1,101 low income elders in Seattle (United States) and Vancouver (Canada), aged 60-75 years, were recruited for a double-blind clinical trial and assigned to either a CHX (n = 550) or a placebo (n = 551) mouth rinse. Subjects alternated between daily rinsing for 1 month, followed by weekly rinsing for 5 months. All sound coronal and root surfaces at baseline were followed annually for up to 5 years. At each follow-up examination, those tooth surfaces with caries, restored, or extracted were scored as 'carious'. The hazard ratio associated with CHX for a sound surface to become filled, decayed, or extracted was 0.87 for coronal surfaces (95% confidence interval: 0.71-1.14, p = 0.20) and 0.91 for root surfaces (95% confidence interval: 0.73-1.14, p = 0.41). These findings suggest that regular rinsing with CHX does not have a substantial effect on the preservation of sound tooth structure in older adults.