Revolting Arts or Spatial Democracy: Performances of popular arts during the Egyptian Revolution?

This paper investigates how spatial practices of Public art performance had transformed public space from being a congested traffic hub into an active and animated space for resistance that was equally accessible to different factions, social strata, media outlets and urban society, determined by popular culture and social responsibility. Tahrir Square was reproduced, in a process of “space adaptation” using Henri Lefebvre’s term, to accommodate forms of social organization and administration.205 Among the spatial patterns of activities detected and analyzed this paper focus on particular forms of mass practices of art and freedom of expression that succeeded to transform Tahrir square into performative space and commemorate its spatial events. It attempts to interrogate how the power of artistic interventions has recalled socio-cultural memory through spatial forms that have negotiated middle grounds between deeply segregated political and social groups in moments of utopian democracy. Through analytical surveys and decoding of media recordings of the events, direct interviews with involved actors and witnesses, this paper offers insight into the ways protesters lent their artistry capacity to the performance of resistance to become an act of spatial festivity or commemoration of events. The paper presents series of analytical maps tracing how the role of art has shifted significantly from traditional freedom of expression modes as narrative of resistance into more sophisticated spatial performative ones that take on a new spatial vibrancy and purpose.

Breaking the Intimate Screen: Pre-Recording, Special Effects and the Aesthetics of Early British Television

The technological constraints of early British television encouraged drama productions which emphasised the immediate, the enclosed and the close-up, an approach which Jason Jacobs described in the title of his seminal study as 'the intimate screen'. While Jacobs' book showed that this conception of early British television drama was only part of the reality, he did not focus on the role that special effects played in expanding the scope of the early television screen. This article will focus upon this role, showing that special effects were not only of use in expanding the temporal and spatial scope of television, but were also considered to be of interest to the audience as a way of exploring the new medium, receiving coverage in the popular press. These effects included pre-recorded film inserts, pre-recorded narration, multiple sets, model work and animation, combined with the live studio performances. Drawing upon archival research into television production files and scripts as well as audience responses and periodical coverage of television at the time of broadcast, this article will focus on telefantasy. This genre offered particular opportunities for utilising effects in ways that seemed appropriate for the experimentation with the form of television and for the drama narratives. This period also saw a variety of shifts within television as the BBC sought to determine a specific identity and understand the possibilities for the new medium.
This research also incorporates the BBC's own research and internal dialogue concerning audiences and how their tastes should best be met, at a time when the television audience was not only growing in terms of number but was also expanding geographically and socially beyond the moneyed Londoners who could afford the first television sets and were within range of the Alexandra Palace transmissions. The primary case study for this article will be the 1949 production of H.G.Wells’ The Time Machine, which incorporated pre-recorded audio and film inserts, which expanded the narrative out of the live studio performance both temporally and spatially, with the effects work receiving coverage in the popular magazine Illustrated. Other productions considered will be the 1938 and 1948 productions of RUR, the 1948 production of Blithe Spirit, and the 1950 adaptation of The Strange Case of Dr Jekyll and Mr Hyde. Despite the focus on telefantasy, this article will also include examples from other genres, both dramatic and factual, showing how the BBC's response to the changing television audience was to restrict drama to a more 'realistic' aesthetic and to move experimentation with televisual form to non-drama productions such as variety performances.

Disentangling the Harrisson Archive to Interpret the Spatial and Temporal Distribution of Vertebrate Remains at Niah Caves, Sarawak

During the 1950s and 1960s, excavations by the Sarawak Museum at Niah Cave in northwest Borneo produced an enormous archive of records and artefacts, including in excess of 750,000 macro- and micro-vertebrate remains. The excellent state of preservation of the animal bone, dating from the Late Pleistocene (c. 40 kya) to as recently as c. 500 years ago had the potential to provide unparalleled zooarchaeological information about early hunter-gatherer resource procurement, temporal changes in subsistence patterning, and the impact of peoples on the local and regional environment in Island Southeast Asia. However, the coarse-grained methods of excavation employed during the original investigations and the sheer scale of the archaeological record and bone assemblages dissuaded many researchers from attempting to tackle the Niah archives. This paper outlines how important information on the nature of the archaeological record at Niah has now finally been extracted from the archive using a combination of zooarchaeological analysis and reference to the extensive archaeological records from the site. Copyright (C) 2009 John Wiley & Sons, Ltd.

Arts Management and Cultural Policy

This chapter explores the relationship between cultural policy and arts management. A connection between policy and practice is visible through initiatives within specific localities, nations and at an international scale. Yet, there is little scholarship that develops our understanding of how these two areas interact, how ideas are exchanged and implemented, and where the power is located within this relationship. The approach to arts and cultural management in the UK has a history of professionalization that has developed increasing influence internationally. As a result, this chapter takes the UK as a case study and presents new empirical work to examine how educators and individuals practicing in both fields perceive the relationship of policymaking to the work of management.

‘Connected communities, “answerability” and the arts: a case study'

This co-authored essay outlines and analyses the AHRC 'Creative Interruptions' Project, 'Where do I belong?', a theatre-as-research project conducted with Afghan refugees in London under the guidance of PI Sarita Malik, Brunel University London.

Fusion of Static and Temporal Information for Threat Evaluation in Sensor Networks

In many CCTV and sensor network based intelligent surveillance systems, a number of attributes or criteria are used to individually evaluate the degree of potential threat of a suspect. The outcomes for these attributes are in general from analytical algorithms where data are often pervaded with uncertainty and incompleteness. As a result, such individual threat evaluations are often inconsistent, and individual evaluations can change as time elapses. Therefore, integrating heterogeneous threat evaluations with temporal influence to obtain a better overall evaluation is a challenging issue. So far, this issue has rarely be considered by existing event reasoning frameworks under uncertainty in sensor network based surveillance. In this paper, we first propose a weighted aggregation operator based on a set of principles that constraints the fusion of individual threat evaluations. Then, we propose a method to integrate the temporal influence on threat evaluation changes. Finally, we demonstrate the usefulness of our system with a decision support event modeling framework using an airport security surveillance scenario.

A spatio-temporal contrast of the predatory impact of an invasive freshwater crustacean

Aim: Impacts of invasive species may vary across invasion gradients, owing to trait-based sorting of individuals through dispersal: those aggregating at invasion fronts may be more aggressive and voracious. We examine, in the field and laboratory, variation in the predatory impacts of an invasive Ponto-Caspian crustacean Hemimysis anomala G.O. Sars, 1907 at two sites along a spatio-temporal gradient of invasion.

Location: Republic of Ireland.

Methods: We used reciprocal transplant field-deployed mesocosms to compare predation rates of invasion front and well-established H. anomala on natural zooplankton assemblages. In the laboratory, we measured the functional response (relationship between predation rate and prey supply) of H. anomala from both sites, for a per capita mechanistic comparison of predation efficiency. We also assessed prey selectivity of H. anomala in the mesocosm experiments to further compare feeding behaviour. Finally, we used a correlative approach to assess the community impact of H. anomala across sites, including a nearby uninvaded site, by comparing zooplankton diversities and densities.

Results: Invasion front H. anomala had higher predation rates than well-established H. anomala at high in situ zooplankton densities. Invasion front H. anomala also had higher functional responses - in particular showing higher 'attack rates' - indicating a heightened ability to locate and capture prey. Prey selectivity was consistent across the spatio-temporal contrast, with positive selection for cladocerans. Zooplankton diversity and density declined with time since H. anomala invasion, both being maximal at the uninvaded site.

Main conclusions: Our study, for the first time, (1) reveals differences in predatory per capita effects and associated behavioural traits between two sites along a spatio-temporal invasion gradient and (2) shows a negative community-level impact of the invasive H. anomala in natural water bodies. Further spatio-temporal comparisons of predatory per capita effects of invaders are needed to assess the generality of these results.

Temporal Narrowing of Neutrons Produced by High-Intensity Short-Pulse Lasers

The production of neutron beams having short temporal duration is studied using ultraintense laser pulses. Laser-accelerated protons are spectrally filtered using a laser-triggered microlens to produce a short duration neutron pulse via nuclear reactions induced in a converter material (LiF). This produces a similar to 3 ns duration neutron pulse with 10(4) n/MeV/sr/shot at 0.56 m from the laser-irradiated proton source. The large spatial separation between the neutron production and the proton source allows for shielding from the copious and undesirable radiation resulting from the laser-plasma interaction. This neutron pulse compares favorably to the duration of conventional accelerator sources and should scale up with, present and future, higher energy laser facilities to produce brighter and shorter neutron beams for ultrafast probing of dense materials.

Spatial and temporal regulation of the pesticide dieldrin within industrial catchments

The river catchments of south Yorkshire support a very high density of wool processing industries. Dieldrin was once used as a moth proofing agent, as a sheep dip, and as a pesticide to protect wool fleeces during storage and transport, all of which caused pollution of these catchments due to textile processing. Weekly sampling of four of these rivers revealed two classes of dieldrin contamination: the Aire and Calder (the rivers which support very high concentrations of wool processing industries) had higher concentrations (averaging ~3 ng/l) than the Don and Trent (~1 ng/l). The average flux of dieldrin from these rivers into the Humber estuary was 9.8 g/day, with the Aire (of which the Calder is a tributary) and the Trent contributing almost equally, with a smaller contribution from the Don. The Trent has the highest average flow, explaining its large contribution to dieldrin flux. Less detailed sampling of rivers from the north Humber catchment which drain predominantly rural areas had dieldrin concentrations similar to the heavily industrialized southern catchment rivers. This suggests that dieldrin from agronomic and domestic usage may be more persistent than the pollution caused by textile processing industries. Evidence is presented to suggest that the principle dieldrin sources to the Humber catchments are sewage treatment plants, and that the dieldrin sources are in rapid equilibrium with the water column. (C) 2000 Elsevier Science B.V.

Temporal and spatial patterns in α- and γ-hexachlorocyclohexane concentrations in industrially contaminated rivers

Fluxes of HCH isomers α- and γ-HCH dynamics were determined in four industrial U.K. rivers feeding the North Sea. Sampling was conducted weekly basis over a 2-year period. This was complemented by discrete studies of events where two hourly sampling periods were used to investigate the fine time scale dynamics of fluxes. Two intensively industrialized rivers had average isomer concentrations of ~20 ng L^-1 for both isomers, while average concentrations in the two less industrialized rivers ranged between 1.5 and 5.0 ng L^-1. α-HCH concentrations showed no strong temporal patterns on any river, which contrasts with γ-HCH levels that increased considerably during late summer/early autumn following sustained periods of low river flow. Sampling during high river flow events on rivers with differing HCH pollution histories both showed the same dynamics in HCH isomer concentrations. γ-HCH concentrations decreased 4-fold during events while α-HCH-concentrations stayed constant. The increases in γ-HCH concentrations under low flow conditions and the rapid dilution of this isomer during events indicate that γ-HCH has current inputs to these river systems. It was calculated that these four rivers export 30.8 kg yr^-1 of γ-HCH and 14.8 kg yr^-1 of α-HCH to the North Sea.

Invasive alien species disrupt spatial and temporal ecology and threaten extinction in an insular, small mammal community

The impact of invasive bank vole (Myodes glareolus) and greater white-toothed shrew (Crocidura russula) on indigenous Irish small mammals, varies with season and habitat. We caught bank voles in deciduous woodland, young coniferous plantations and open habitats such as rank grass. The greater white-toothed shrew was absent from deciduous woods and plantations but did use open habitats with low level cover in addition to field margins. Numbers of both invasive species in field margins during summer were higher than in the previous spring. The indigenous wood mouse (Apodemus sylvaticus) and pygmy shrew (Sorex minutus), differed in degrees of negative response to invasive species. Wood mice with bank voles in hedgerows had reduced recruitment and lower peak abundance. This effect was less extreme where both invasive species were present. Wood mice numbers along field margins and open habitats were significantly depressed by the presence of the bank vole with no such effect in deciduous woodland or coniferous plantations. Summer recruitment in pygmy shrews was reduced in hedgerows with bank voles. Where greater white-toothed shrew was present, the pygmy shrew was entirely absent from field margins. Species replacement due to invasive small mammals is occurring in their major habitat i.e. field margins and open habitats where there is good ground cover. Pygmy shrew will probably disappear from these habitats throughout Ireland. Wood mice and possibly pygmy shrew may survive in deciduous woodland and conifer plantations. Mitigation of impacts of invasive species should include expansion of woodland in which native species can survive.

Spatial and temporal variability of the freshwater reservoir effect (FRE) in lacustrine sediments in a cold climate zone, Northwest Territories (Canada)

Climate variability along the 600 km Tibbitt to Contwyoto Winter Road (TCWR) in central Northwest Territories is poorly understood. With the transportation of goods from Yellowknife to the mines projected to increase significantly as new mines open, it is critical that planners and mine developers have reasonable data on the future viability of the road, as alternative transportation costs (e.g. air transport) are prohibitively high.

The research presented here is part of a paleoclimate study based on the analysis of multiple proxy data derived from freeze cores in lakes along the TCWR.

Participatory Sonic Arts: towards a socially engaged art of sound in the everyday (The Som da Maré Project)

Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in “Living Form: Socially Engaged Art from 1991-2011” surveys these
practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake.

“Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines.” (Helguera, 2011)

Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helguera’s “Aelia Media” enabling a nomadic radio station in Bologna or Maria Andueza “Immigrant Sounds – Res(on)Art (Stockholm)” exploring ways of sonically resonating a city, or Sue MacCauley’s “The Housing Project” addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context.
We address concepts and methodologies behind the project Som da Maré, a participatory sonic arts project in the favelas of Maré, Rio de Janeiro.