Leaded Strand Lamp:Selected for Inclusion for an Exhibition of the best of irish Design as part of the Vernacular Exhibition in London Design Festival 2013. Curated by Ann Mulrooney

Contemporary product made using traditional Northern irish metal craft skills

Climate change and decadal to centennial-scale periodicities recorded in a late Holocene NE Pacific marine record: Examining the role of solar forcing

We present a decadal-scale late Holocene climate record based on diatoms, biogenic silica, and grain size from a 12-m sediment core (VEC02A04) obtained from Frederick Sound in the Seymour-Belize Inlet Complex of British Columbia, Canada. Sediments are characterized by graded, massive, and laminated intervals. Laminated intervals are most common between c. 2948–2708 cal. yr BP and c. 1992–1727 cal. yr BP. Increased preservation of laminated sediments and diatom assemblage changes at this time suggest that cli- mate became moderately drier and cooler relative to the preceding and succeeding intervals. Spectral and wavelet analyses are used to test for statistically significant periodicities in time series of proxies of primary production (total diatom abundance, biogenic silica) and hydrology (grain size) preserved in the Frederick Sound record. Periodicities of c. 42–53, 60–70, 82–89, 241–243, and 380 yrs are present. Results are com- pared to reconstructed sunspot number data of Solanki et al. (2004) using cross wavelet transform to evalu- ate the role of solar forcing on NE Pacific climate. Significant common power of periodicities between c. 42– 60, 70–89, 241–243, and of 380 yrs occur, suggesting that celestial forcing impacted late Holocene climate at Frederick Sound. Replication of the c. 241–243 yr periodicity in sunspot time series is most pronounced be- tween c. 2900 cal. yr BP and c. 2000 cal. yr BP, broadly correlative to the timing of maximum preservation of laminated sedimentary successions and diatom assemblage changes. High solar activity at the Suess/de Vries band may have been manifested as a prolonged westward shift and/or weakening of the Aleutian Low in the mid-late Holocene, which would have diverted fewer North Pacific storms and resulted in the relatively dry conditions reconstructed for the Seymour-Belize Inlet Complex.

Exposición Internacional 1910. Buenos Aires.: Didactic leisure and international recognition

International exhibitions were greatly responsible for the modernization of western society. The motive for these events was based on the possibility of enhancing the country’s international status abroad. The genesis of world exhibitions came from the conviction that humanity as a whole would improve the continual flow of new practical applications, the development of modern communication techniques and the social need for a medium that could acquaint the general public with changes in technology, economy and society .
Since the first national industrial exhibitions in Paris during the eighteenth century and especially starting from the first Great Exhibition in London’s Hyde Park in 1851 these international events spread steadily all over Europe and the United States, to reach Latin America in the beginnings of the twentieth century . The work of professionals such as Daniel Burnham, Werner Hegemann and Elbert Peets made the relation between exhibitions and urban transformation a much more connected one, setting a precedent for subsequent exhibitions.
In Buenos Aires, the celebration of the centennial of independence from Spain in 1910 had many meanings and repercussions. A series of factors allowed for a moment of change in the city. Official optimism, economical progress, inequality and social conflict made of this a suitable time for transformation. With the organization of the Exposición Internacional the government had, among others, one specific aim: to achieve a network of visual tools to set the feeling of belonging and provide an identity for the mixture of cultures that populated the city of Buenos Aires at the time. Another important objective of the government was to put Buenos Aires at the level of European cities.
Foreign professionals had a great influence in the conceptual and factual shaping of the exhibition and in the subsequent changes caused in the urban condition. The exhibition had an important role in the ways of thinking the city and in the leisure ideas it introduced. The exhibition, as a didactic tool, worked as a precedent for conceiving leisure spaces in the future. Urban and landscape planners such as Joseph Bouvard and Charles Thays were instrumental in great part of the design of the Exhibition, but it was not only the architects and designers who shaped the identity of the fair. Other visitors such as Jules Huret or Georges Clemenceau were responsible for giving the city an international image it did not previously have.
This paper will explore on the one hand the significance of the exhibition of 1910 for the shaping of the city and its image; and on the other hand, the role of foreign professionals and the reach these influences had.

Cinema-going at the Southampton Odeon: Exhibition Data and Popular Taste

Cinemagoing data from the 1970s. A case study of the data from the Southampton Odeon

Making Ireland Modern

Making Ireland Modern is a cross-disciplinary, inter-institutional, inter-media design and research project which emerged from an open competition (won by Boyd and McLaughlin) to commission/curate the Irish pavilion for the Venice biennale 2014. It explores the relationship between architecture, infrastructure and technology in the building of a new nation. Constructed as a demountable, open matrix of drawings, photographs, models and other artefacts, the exhibition (12 x 5 x 6 metres) presents ten infrastructural episodes – Negation, Electricity, Health, Transportation, Television, Aviation, Education, Telecommunications, Motorways, Data – spanning a period of one hundred years from 1916-2016. Exploring a range of scales from the detail design of objects to entire landscapes and other territories, Making Ireland Modern describes architecture’s role in transforming the physical and cultural identity of the new state through its intersession in the everyday lives of its population. In 2015, we were commissioned by the Arts Council of Ireland to expand and develop the pavilion for a three cities tour of Ireland as one of the five major strands of the Arts Council’s Art2016 programme of Irish State’s 1916-2016 centennial celebrations (2016).

Appropriate complexity for the prediction of coastal and estuarine geomorphic behaviour at decadal to centennial scales

Coastal and estuarine landforms provide a physical template that not only accommodates diverse ecosystem functions and human activities, but also mediates flood and erosion risks that are expected to increase with climate change. In this paper, we explore some of the issues associated with the conceptualisation and modelling of coastal morphological change at time and space scales relevant to managers and policy makers. Firstly, we revisit the question of how to define the most appropriate scales at which to seek quantitative predictions of landform change within an age defined by human interference with natural sediment systems and by the prospect of significant changes in climate and ocean forcing. Secondly, we consider the theoretical bases and conceptual frameworks for determining which processes are most important at a given scale of interest and the related problem of how to translate this understanding into models that are computationally feasible, retain a sound physical basis and demonstrate useful predictive skill. In particular, we explore the limitations of a primary scale approach and the extent to which these can be resolved with reference to the concept of the coastal tract and application of systems theory. Thirdly, we consider the importance of different styles of landform change and the need to resolve not only incremental evolution of morphology but also changes in the qualitative dynamics of a system and/or its gross morphological configuration. The extreme complexity and spatially distributed nature of landform systems means that quantitative prediction of future changes must necessarily be approached through mechanistic modelling of some form or another. Geomorphology has increasingly embraced so-called ‘reduced complexity’ models as a means of moving from an essentially reductionist focus on the mechanics of sediment transport towards a more synthesist view of landform evolution. However, there is little consensus on exactly what constitutes a reduced complexity model and the term itself is both misleading and, arguably, unhelpful. Accordingly, we synthesise a set of requirements for what might be termed ‘appropriate complexity modelling’ of quantitative coastal morphological change at scales commensurate with contemporary management and policy-making requirements: 1) The system being studied must be bounded with reference to the time and space scales at which behaviours of interest emerge and/or scientific or management problems arise; 2) model complexity and comprehensiveness must be appropriate to the problem at hand; 3) modellers should seek a priori insights into what kind of behaviours are likely to be evident at the scale of interest and the extent to which the behavioural validity of a model may be constrained by its underlying assumptions and its comprehensiveness; 4) informed by qualitative insights into likely dynamic behaviour, models should then be formulated with a view to resolving critical state changes; and 5) meso-scale modelling of coastal morphological change should reflect critically on the role of modelling and its relation to the observable world.

Dissenting Exhibitions by Artists (1968-1998). Reframing Marxist Exhibition Legacy.

The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.

Catalogue of the articles on exhibition, at the fair of the South-Carolina Institute, third annual fair, November 18, 1851

This document contains a catalogue of the articles on exhibition at the 1851 annual fair of the South Carolina Institute. It includes 432 items exhibited at the fair in Charleston.