Ballet

This solo exhibition featured Ballet, a filmed performance and video installation by Szuper Gallery and an installation of original archive films. Ballet engages with recent histories of rural filmmaking, with movement and dance, linking everyday farming movements with the aesthetics of dance. The starting point for this new work was a series of archival films from the MERL collection, which were made for British farmers as a means both for information and for propaganda, to provide warnings of contagion and nuclear catastrophe, describing procedure and instruction in the case of emergency. Gestural performances and movements of background actors observed in those films were re-scripted into a new choreography of movement for camera to form a playful assemblage.

Work/Arbeit/Работа

Two photographs from the Artists Studio Project 30x40cm, C-Prints, 2007 (with Shezad Dawood), first exhibited in Szuper Gallery at the Artists' Studio in 2007.

Spatiotemporal behavior of the TIGGE medium-range ensemble forecasts

Using the recently-developed mean–variance of logarithms (MVL) diagram, together with the TIGGE archive of medium-range ensemble forecasts from nine different centres, an analysis is presented of the spatiotemporal dynamics of their perturbations, showing how the differences between models and perturbation techniques can explain the shape of their characteristic MVL curves. In particular, a divide is seen between ensembles based on singular vectors or empirical orthogonal functions, and those based on bred vector, Ensemble Transform with Rescaling or Ensemble Kalman Filter techniques. Consideration is also given to the use of the MVL diagram to compare the growth of perturbations within the ensemble with the growth of the forecast error, showing that there is a much closer correspondence for some models than others. Finally, the use of the MVL technique to assist in selecting models for inclusion in a multi-model ensemble is discussed, and an experiment suggested to test its potential in this context.

Scorch marks from the sky

Daily sunshine duration is commonly reported at weather stations. Beyond the basic duration report, more information is available from scorched cards of Campbell-Stokes sunshine recorders, such as the estimation of direct-beam solar irradiance. Sunshine cards therefore potentially provide information on sky state, as inferred from solar-radiation data. Some sites have been operational since the late 19th century, hence sunshine cards potentially provide underexploited historical data on sky state. Sunshine cards provide an example of an archive source yielding data beyond the measurements originally sought.

Generation, description and storage of dendritic morphology data

It is generally assumed that the variability of neuronal morphology has an important effect on both the connectivity and the activity of the nervous system, but this effect has not been thoroughly investigated. Neuroanatomical archives represent a crucial tool to explore structure–function relationships in the brain. We are developing computational tools to describe, generate, store and render large sets of three–dimensional neuronal structures in a format that is compact, quantitative, accurate and readily accessible to the neuroscientist. Single–cell neuroanatomy can be characterized quantitatively at several levels. In computer–aided neuronal tracing files, a dendritic tree is described as a series of cylinders, each represented by diameter, spatial coordinates and the connectivity to other cylinders in the tree. This ‘Cartesian’ description constitutes a completely accurate mapping of dendritic morphology but it bears little intuitive information for the neuroscientist. In contrast, a classical neuroanatomical analysis characterizes neuronal dendrites on the basis of the statistical distributions of morphological parameters, e.g. maximum branching order or bifurcation asymmetry. This description is intuitively more accessible, but it only yields information on the collective anatomy of a group of dendrites, i.e. it is not complete enough to provide a precise ‘blueprint’ of the original data. We are adopting a third, intermediate level of description, which consists of the algorithmic generation of neuronal structures within a certain morphological class based on a set of ‘fundamental’, measured parameters. This description is as intuitive as a classical neuroanatomical analysis (parameters have an intuitive interpretation), and as complete as a Cartesian file (the algorithms generate and display complete neurons). The advantages of the algorithmic description of neuronal structure are immense. If an algorithm can measure the values of a handful of parameters from an experimental database and generate virtual neurons whose anatomy is statistically indistinguishable from that of their real counterparts, a great deal of data compression and amplification can be achieved. Data compression results from the quantitative and complete description of thousands of neurons with a handful of statistical distributions of parameters. Data amplification is possible because, from a set of experimental neurons, many more virtual analogues can be generated. This approach could allow one, in principle, to create and store a neuroanatomical database containing data for an entire human brain in a personal computer. We are using two programs, L–NEURON and ARBORVITAE, to investigate systematically the potential of several different algorithms for the generation of virtual neurons. Using these programs, we have generated anatomically plausible virtual neurons for several morphological classes, including guinea pig cerebellar Purkinje cells and cat spinal cord motor neurons. These virtual neurons are stored in an online electronic archive of dendritic morphology. This process highlights the potential and the limitations of the ‘computational neuroanatomy’ strategy for neuroscience databases.

Pil and Galia Kollectiv: solo exhibition at Te Tuhi Art Centre, Auckland, New Zealand.

The exhibition presents the full Future Trilogy which was completed in 2009. The trilogy is based on the opening of a new IKEA store in Edmonton, London in November 2005. IKEA celebrated with a twenty-four hour launch accompanied by significant price reductions on leather sofas. But when six thousand people arrived to compete for the discount a riot ensued which injured sixteen shoppers and required the store to be closed after just thirty minutes. The Future Trilogy takes this event as the starting point to speculate on a future where the popular fascination with modern designer furniture has morphed into state religions underpinned by the ideals of the early twentieth century avant-garde. The exhibition also presents their 2010 work Co-Operative Explanatory Capabilities in Organizational Design and Personnel Management which narrates a fictional story of a company that adopts highly experimental approaches to achieving worker productivity. The project investigates the place of creativity in efficiency management and the operation of bureaucratic systems in a post-industrial work environment. The Kollectiv's pseudo documentary creates a careful blend of fact and fiction through the combination of a distinctive BBC narrator's voice with imagery sourced from an online photographic archive for an early computing company. The story becomes increasingly provocative as more and more of the bizarre antics of the company employees are revealed, leading to the members of the company eventually forming a religious cult.