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).

Chromatic Aberration

Chromatic Aberration is a film installation which explores the early technologies of colour filmmaking drawn from the archives of George Eastman House, Rochester, New York. Featuring vibrant close-ups of eyes from fledgling archival experiments in colour film, Chromatic Aberration turns the cinematic lens in on itself: from the prosthetic recording eye of the camera, to an evocation of the abstract inner screen of one's eyelids. Early 1920s colour film footage - mainly tests shots featuring members of George Eastman's family as well as Hollywood stars of the time - is shot in such a way so as to reveal the inherent chromatic fringing, distortion and misalignment. Using specialist equipment at the BFI National Archive, London, the footage is reworked through the use of extreme close-up and magnification, honing in on the eyes. The installation evokes an imagined abstract colour world, a flickering eyelid trapped in a mechanical peephole. Exhibitions: Solo exhibition as film installation at Tyneside Cinema (Newcastle, Oct-Nov 2014); Solo exhibition at George Eastman Museum (Rochester, New York, Jan-April 2015), including a second work on display. Film festivals nominations for competitions: Winner of Best Vanguard Film Competition in Lima Independiente International Film Festival (Peru). Nominations: Filmadrid festival (Spain); Curtas Vila do Conde film festival (Portugal); Festival du Nouveau Cinema (Canada); Jihlava International Documentary Film Festival (Czech Republic ); International Film Festival Bratislava (Slovenia). Additional screenings at International Rotterdam Film Festival (Netherlands); European Media Art Festival (Germany); BFI London Film Festival (UK); Mini-retrospective screening at DIM CINEMA, The Cinematheque (Vancouver May 2015). Reviews and interviews in Artforum, The Wire Magazine, After Image, Studio International. Public lectures: with Prof. Sarah Street at Tyneside Cinema (Nov 2014); Royal Academy visiting public lecture (Nov 2014); ���The Laughter of Things��� symposium, International Film Festival Rotterdam and Piet Zwart Institute (Jan 2015); George Eastman Museum and Rochester University (April 2015). Acquired by the George Eastman Museum for their collection.

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.

Bitte recht freundlich!

Die vorliegende Arbeit untersucht die Wirkung von Spitzenf��hrungspersonal-Fotos. Sie liefert Antworten auf die Frage, welche Mimik und welche Gestik auf solchen Fotos bei den betrachtenden Personen die positivste Wirkung erzeugt und welche Wirkungsunterschiede existieren, in Abh��ngigkeit davon, wer das Foto betrachtet und in Abh��ngigkeit davon, ob auf dem Foto eine weibliche oder m��nnliche Person zu sehen ist. Beim Betrachten von Portraitfotos entstehen bei Menschen automatisch und unbewusst Vorstellungen ��ber die Eigenschaften der abgebildeten Person, so genannte implizite Pers��nlichkeitstheorien. Die Untersuchung wurde als Online-Befragung in Form einer Bildbewertungsstudie durchgef��hrt. Als Stimulusmaterial wurden jeweils 16 Fotos einer weiblichen und einer m��nnlichen Spitzenf��hrungskraft produziert, welche unterschiedliche Kombinationen aus Gestiken und Mimiken zeigten, die nach den Attributen Glaubw��rdigkeit, Sympathie, Attraktivit��t, Kompetenz und Entschlossenheit bewertet wurden. Weibliche Spitzenf��hrungskr��fte wirken am positivsten, wenn sie eine zugewandte Gestik zeigen. Besonders glaubw��rdig wirken sie, wenn sie dazu ein Zahnl��cheln zeigen. Kompetenz und Entschlossenheit wird bei weiblichen Spitzenf��hrungskr��ften am st��rksten durch eine Kombination aus einem Schmunzeln und einer zugewandten Gestik vermittelt ��� Attraktivit��t und Sympathie durch eine Kombination aus Lachen und einer zugewandten Gestik. Kompetenz und Entschlossenheit werden bei m��nnlichen Spitzenf��hrungskr��ften ebenfalls durch eine Kombination aus Schmunzeln und einer zugewandten Gestik am st��rksten vermittelt. Glaubw��rdigkeit wird durch eine Kombination aus Schmunzeln und einer vorgebeugten Gestik am st��rksten vermittelt ��� Attraktivit��t und Sympathie durch eine Kombination aus Lachen und einer vorgebeugten Gestik.

Os jovens e a escola : percursos e significados

Trabalho de projeto de mestrado, Ci��ncias da Educa����o (Forma����o de Adultos), Universidade de Lisboa, Instituto de Educa����o, 2013

A Practical Approach to Using Motion Capture in Performance Dance

Markerless systems are becoming more ubiquitous due to their increased use in video games consoles. Cheap cameras and software suites are making motion capture technologies more freely available to the digitally inclined choreographer. In this workshop we will demonstrate the opportunities and limitations provided by easily accessible and relatively inexpensive markerless motion capture systems. In particular we will explore the capacity of these systems to provide useful data in a live performance scenario where the latency, size and format of the captured data is crucial in allowing real-time processing and visualisation of the captured scene

CNN Interactive just got more interactive

Interactive gallery installation which playfully re-contextualised online news feeds from CNN���s website with a soundtrack of found music in order to comment on an online environment where 'serious' news and trivial 'infotainment' often occupy the same space. ���CNN Interactive just got more interactive��� aimed to investigate the balance between information and ���info-tainment��� on the web. It demonstrated how the authority and presence of global news corporations online could be playfully subverted by enabling the audience to add a variety of emotively titled soundtracks to the monolithic CNN Interactive website. The project also explored how a work could exist dually as website and gallery installation. ���CNN interactive��� contributes to the taxonomy of new media art as a new form of contemporary art. One of the first examples in the world of a gallery installation using live Internet data, it is also one of the first attempts in a new media art context to address how individuals respond to and comprehend the changed nature of the news as an immediate phenomenon as relayed by network communications systems. 'CNN interactive��� continues Craighead and Thomson���s research into how live digital networked information can be re-purposed as artistic material within gallery installation contexts but with specific reference to online-international news events, rather than arbitrary data sources (see e-poltergeist, output 1). ���CNN Interactive��� was commissioned by Tate Britain for the exhibition ���Art and Money Online���. This was the first gallery exhibition in Tate Britain featuring work that utilised and explored new media as an artistic area, and the first work commissioned by the Tate to operate simultaneously as an online gallery artwork. Selected reviews and citations include ���Digital Art��� by Christiane Paul, 2003; ���Internet Art: The Online Clash of Culture and Commerce��� by Julian Stallabrass. (2002); ���Thomson & Craighead��� by Lisa Le Feuvre for Katalog Journal of Photography and Video, Denmark. All work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, (Slade).

Tourist photographers and the promotion of travel: the Polytechnic Touring Association, 1888���1939

The Polytechnic Touring Association (PTA) was a London-based, originally philanthropic turned commercial travel firm whose historical origins coincided with the arrival of the Kodak camera in 1888 ��� thus, of popular (tourist) photography. This article examines the PTA���s changing relationship with tourist photographers, and how this influenced the company���s understanding of what role photography could play in promoting the tours, in the late nineteenth and early twenty century. This inquiry is advanced on the basis of the observation that, during this time, the PTA���s passage from viewing tourists as citizens to educate, to customers to please, paralleled the move from using photography-based images to mixed media. Such a development was certainly a response to unprecedented market demands; this article argues that it should also be considered in relation to the widening of photographic perceptions engendered by the democratization of the medium, to which the PTA responded, first as educator, then as service provider. In doing so, the article raises several questions about the shifting relationship between ���high���, or established, and ���low���, or emerging, forms of culture, as mass photography and the mass marketing of tourism developed.

Detailed phenotypic and genotypic characterization of bietti crystalline dystrophy

OBJECTIVE: To provide a detailed phenotype/genotype characterization of Bietti crystalline dystrophy (BCD). DESIGN: Observational case series. PARTICIPANTS: Twenty patients from 17 families recruited from a multiethnic British population. METHODS: Patients underwent color fundus photography, near-infrared (NIR) imaging, fundus autofluorescence (FAF) imaging, spectral domain optical coherence tomography (SD-OCT), and electroretinogram (ERG) assessment. The gene CYP4V2 was sequenced. MAIN OUTCOME MEASURES: Clinical, imaging, electrophysiologic, and molecular genetics findings. RESULTS: Patients ranged in age from 19 to 72 years (median, 40 years), with a visual acuity of 6/5 to perception of light (median, 6/12). There was wide intrafamilial and interfamilial variability in clinical severity. The FAF imaging showed well-defined areas of retinal pigment epithelium (RPE) loss that corresponded on SD-OCT to well-demarcated areas of outer retinal atrophy. Retinal crystals were not evident on FAF imaging and were best visualized with NIR imaging. Spectral domain OCT showed them to be principally located on or in the RPE/Bruch's membrane complex. Disappearance of the crystals, revealed by serial recording, was associated with severe disruption and thinning of the RPE/Bruch's membrane complex. Cases with extensive RPE degeneration (N = 5) had ERGs consistent with generalized rod and cone dysfunction, but those with more focal RPE atrophy showed amplitude reduction without delay (N = 3), consistent with restricted loss of function, or that was normal (N = 2). Likely disease-causing variants were identified in 34 chromosomes from 17 families. Seven were novel, including p.Met66Arg, found in all 11 patients from 8 families of South Asian descent. This mutation appears to be associated with earlier onset (median age, 30 years) compared with other substitutions (median age, 41 years). Deletions of exon 7 were associated with more severe disease. CONCLUSIONS: The phenotype is highly variable. Several novel variants are reported, including a highly prevalent substitution in patients of South Asian descent that is associated with earlier-onset disease. Autofluorescence showed sharply demarcated areas of RPE loss that coincided with abrupt edges of outer retinal atrophy on SD-OCT; crystals were generally situated on or in the RPE/Bruch's complex but could disappear over time with associated RPE disruption. These results support a role for the RPE in disease pathogenesis.

A valoriza����o das heran��as culturais atrav��s do design

A presente investiga����o versa a liga����o do design ��s heran��as culturais. Num per��odo em que as fronteiras se v��o de certa forma dissolvendo, h��, por um lado, um maior risco de perdas de identidades e tradi����es, mas tamb��m, por outro lado um maior interesse pela procura dessas mesmas identidades. Tenta-se, com esta investiga����o, perceber se a liga����o do design ��s heran��as culturais e vice-versa poder�� trazer mais valias para ambos. Isto ��, o design como mediador entre as heran��as culturais e as pessoas, fomentando o interesse do p��blico pelas tradi����es e legado cultural, valorizando o conhecimento, conserva����o e preserva����o dos mesmos. Procura-se, tamb��m, perceber se o design poder�� aproveitar esta aproxima����o como uma for��a potenciadora para se impor e prosperar, tanto no mercado nacional como no internacional. Se o design portugu��s precisa de algo ��nico, como a cultura portuguesa, tamb��m as heran��as culturais precisam de ser vistas por um novo prisma, e aqui �� proposto entrar o design. Baseada na critica liter��ria e casos de estudo, tanto nacionais como internacionais, respondeu-se ��s perguntas colocadas no inicio da disserta����o. Foi tamb��m criado o projeto Da Panela de modo a provar as respostas afirmativas ��s mesmas quest��es. O projeto Da Panela prop��e uma reflex��o sobre o panorama gastron��mico minhoto, evocando a sua mem��ria e conhecimento, numa colabora����o entre design e gastronomia para a cria����o de novos produtos que pretendeu revitalizar uma regi��o e uma tradi����o, dando-lhe novas interpreta����es e formas, que promovam o conhecimento e valorizem os seus recursos. Um projeto que transp��s esta heran��a t��o tradicional para os dias de hoje, possibilitando novas experi��ncias e novos usos, aplicados ao contexto e necessidades atuais.

World press photo 2012: a constru����o discursiva da Primavera ��rabe

Disserta����o apresentada �� Escola Superior de Comunica����o Social como parte dos requisitos para obten����o de grau de mestre em Jornalismo.