Moving beyond the rhetoric of provocation: the French and World War II in the novels of the Hussards (1949-1954)

In the immediate aftermath of the Second World War, only those who had opposed the Germans or were perceived to have done so could freely express themselves. Soon, however, three young writers clearly leaning to the right of the political spectrum – Antoine Blondin, Roger Nimier and Jacques Laurent – dared to challenge their narratives in a series of provocative novels published between 1949 and 1954. Quickly referred to as the Hussards after the publication in 1952 of a famous essay by Bernard Frank, these writers momentarily occupied the literary space left vacant by their older peers. Without denying the provocative, political and subversive dimensions of the Hussards’ war novels, this article will argue that their success was mainly due to the fact that they were largely in line – and not in contradiction – with the ‘horizon of expectations’ of their time (Jauss, 1982).

Multi-bubble sonoluminescence: Laboratory curiosity, or real world application?

Sonoluminescence (SL) involves the conversion of mechanical [ultra]sound energy into light. Whilst the phenomenon is invariably inefficient, typically converting just 10^-4 of the incident acoustic energy into photons, it is nonetheless extraordinary, as the resultant energy density of the emergent photons exceeds that of the ultrasonic driving field by a factor of some 10 ¹². Sonoluminescence has specific [as yet untapped] advantages in that it can be effected at remote locations in an essentially wireless format. The only [usual] requirement is energy transduction via the violent oscillation of microscopic bubbles within the propagating medium. The dependence of sonoluminescent output on the generating sound field's parameters, such as pulse duration, duty cycle, and position within the field, have been observed and measured previously, and several relevant aspects are discussed presently. We also extrapolate the logic from a recently published analysis relating to the ensuing dynamics of bubble 'clouds' that have been stimulated by ultrasound. Here, the intention was to develop a relevant [yet computationally simplistic] model that captured the essential physical qualities expected from real sonoluminescent microbubble clouds. We focused on the inferred temporal characteristics of SL light output from a population of such bubbles, subjected to intermediate [0.5-2MPa] ultrasonic pressures. Finally, whilst direct applications for sonoluminescent light output are thought unlikely in the main, we proceed to frame the state-of-the- art against several presently existing technologies that could form adjunct approaches with distinct potential for enhancing present sonoluminescent light output that may prove useful in real world [biomedical] applications.

Proxemics: The World is a Deaf Machine

A multi-channel sound installation involving fixed loudspeakers and multiple mp3 players, commissioned by the Sainsbury Centre of Visual Arts, Norwich as a response to the sculpture of Ian Tyson and the architecture of Denys Lasdun.

Virtual Reality: immersed in the structural world

Virtual reality is a rapidly emerging technology, driven by the computer gaming industry. The maturity of the concept, combined with modern hardware, is delivering an experience which offers a useful commercial tool for industry and educators. This article discusses the uses of virtual reality within structural engineering and provides an understanding of how it can be incorporated easily and efficiently for design purposes and beyond.

Haptic Aurality: Listening in a Digital World

I will question modes of listening in network music performance environments, drawing on my experience as a performer listening in these scenarios. I will situate network listening, which I have previously examined as ‘haptic aurality’ (Schroeder, 2009, 2012, 2013) within the context of current music making, and will refer to changes in compositional practices that draw specific attention to listening. I will show that some of these compositional developments play a determining role in articulating a new discourse of listening. French composer Eric Satie’s concept of Furniture Music (in Duckworth, 2005), Pierre Schaeffer’s ideas on reduced listening (1966), Pauline Oliveros’ deep listening practices (2005) as well as digital music platforms all serve to show a development towards a proliferation in listening experiences. I expand this narrative to listening practices in network performance environments, and identify a specific bodily fragility in listening in and to the network. This fragile state of listening and de-centered kind of performative being allow me to draw parallels to the Japanese art form Butoh (Kasai, 1999, 2000; Kasai and Parsons, 2003) and Elaine Scarry’s metaphor of beauty (Scarry, 2001). My own performance experiences, set within the context of several critical texts, allow me to understand network[ed] listening as an ideal corporeal state, which offers a rethinking of linear conceptions of the other and a subject’s own relation with her world. Ultimately, network[ed] listening posits listening as a corporeal and multi-dimensional experience that is continuously being re-shaped by technological, socio-political and cultural concerns.

Haptic Aurality – performing in a digital world

Paper accepted at 2015 ISIS in Utrecht. This presentation will examine the performative body from the viewpoint of the listening body in digital media platforms, and thus investigates the proposed conference issues which are at the intersections of ‘play’, ‘perform’ and ‘participate’.