DeepBlue India Stories

Original Staged Music Performance incorporating Projected Sand Art and Narrator at Woodford Festival 2013

Convolution: A Woven Sculptural Installation. Catalogue essay

The catalogue essay contextualises the creative practices of Casselle Mountford and Anaheke Matua, in terms of their involvement with the Lines in the Sand Art and Environment festivals on Minjerribah, and in terms of their own operational and ethical processes and ethos. It seeks to express the intertwining and blurring of nature and culture in the traditional methods and idiosyncratic expression of these two artists.

An essay on the invention, or art of making very good, if not the best iron, from black sea sand. /

Goldsmiths'-Kress no. 09760.4-1, suppl.

L’esprit, le cœur et les bras’ : Rethinking Art as Labour in George Sand

Date of Acceptance: 13/04/2015

L’esprit, le cœur et les bras’ : Rethinking Art as Labour in George Sand

Date of Acceptance: 13/04/2015

Sun, sea, sex, sand and conservatism in the Australian television soap opera

A recent issue of Young People Now (November 1995) mentioned the new (UK) television soap opera Hollyoaks by Phil Redmond, which raises the issue of the role of ‘soap operas’ (hereafter referred to as soaps) in the daily lives of young people. The term ‘soap’ originates with the sponsorship of radio and television programmes by companies such as Proctor and Gamble who in America in 1932 used a daytime radio domestic comedy, The Puddle Family to advertise Oxydol, a washing powder. The first British television soap was The Grove Family (BBC 1954-7) was followed by Emergency Ward Ten (ATV 1957-67), Coronation Street (Granada Television 1960-present) and Eastenders (BBC 1985-present). Australian soaps are especially popular in Britain and of potential interest to those who work with young people, because they have a high proportion of youthful looking actors and actresses and frequently depict scenes involving young people and apparent ‘real’ teenage dilemmas. On one level it may be commendable that actors who are young(ish) somewhere between the ages of 14 and 25 play roles that are ostensibly about young people and their alleged problems. However, the casting of young, largely unknown, actors reflects more the political economy of soaps in their relative cheapness and dispensability, rather than any genuine attempt to create an oppositional text for, about and by young people (Paterson 1986).

About infamy: the filthiness of Art and its diogenic disease

In this paper, we postulate the direct relationship that exists between waste production and artistic objects; its manufacturing system, consumption, and subsequent waste. What arises in this relationship then, is another character of interest –and that will serve as a reference to compare its modus operandi with the place of artists and the arts–, in this sick world, the Diogenes. The obsessed that lives among the garbage. The absurdity of the conquest of the infinite of the illogical within the logical. The amount clouded and blinded, nothing is enjoyed, nothing is appreciated; the countless abandons its place in the memory –memorable– and there only exists a pathological accumulation, mountains of garbage, desires to hold on to vital faith of the belief of doing Something for themselves. Working just to work and building something that will not last, like a sand castle, accumulation of detritus and dust. A new logic is born, the enjoyment of diseases and emptiness, the destruction of a world without a history. «Artists of the world, abandon! You have nothing to lose but your own professions!» (Kaprow, 2007, p. 37).

Maurice Sand, un créateur fantastique méconnu : la transversalité, brisant d’une œuvre au 19e siècle

Sauf par des regards fugitifs et distraits sur son travail d’illustrateur et son théâtre de marionnettes, l’histoire culturelle et littéraire n’a en général retenu de Maurice Sand que son état de fils bien-aimé de la plus célèbre écrivaine du 19e siècle. Étudiée pour elle-même, son œuvre multidisciplinaire - qui allie peinture, dessin, illustration, théâtre, histoire de l’art, sciences naturelles - se propose pourtant avec cohérence, marque d’une création soutenue plutôt que du dilettantisme où son souvenir s’est incrusté. Maurice Sand apparaît alors comme un de ces individus situés aux interstices des récits majeurs de la littérature et des arts qui, bien qu’ayant figure de minores, amènent à des réflexions nuancées sur la constitution de ces récits. Explorer son cas permet ainsi de scruter de plus près les mécanismes de la méconnaissance qui a pu et peut encore affecter un créateur et une œuvre soumis aux arbitrages mémoriels. Discrets angles morts de l’histoire, certains de ces mécanismes jalonnent clairement son parcours et les aléas de sa trace posthume. D’une part le vaste corpus des études sur George Sand, notamment des écrits biographiques et autobiographiques, fait voir à l’œuvre le mode déformant de la constitution de la mémoire d’un être saisi à partir des positions d’autrui : son existence devient cliché, elle se réduit peu à peu au rôle d’adjuvant dans des débats, passés ou actuels, qui font l’impasse sur le cours autonome de sa carrière, voire de sa vie. D’autre part la mise au jour de son œuvre, enfin vue comme un ensemble, dévoile une cause encore plus déterminante de sa méconnaissance. Presque tous les travaux de Maurice Sand sont traversés par une ligne de fantastique, au surplus connotée par son intérêt pour les sciences liées à la métamorphose, de l’ethnogénie à l’entomologie. Réinvention constante du passé, sa démarche cognitive et créatrice ignore les frontières disciplinaires, son objet est hybride et composé. L’œuvre se constitue ainsi par transversalité, trait et trame irrecevables en un siècle qui n’y perçut que dispersion, mais paradoxalement marque supérieure de qualité dans le champ éclaté où se déploient les arts de notre temps.

Geotechnical Analysis of Contaminated Sand by Light Non-Aquous Phase Liquids

Contaminated soil reuse was investigated, with higher profusion, throughout the early 90’s, coinciding with the 1991 Gulf War, when efforts to amend large crude oil releases began in geotechnical assessment of contaminated soils. Isolated works referring to geotechnical testing with hydrocarbon ground contaminants are described in the state-of-the-art, which have been extended to other type of contaminated soil references. Contaminated soils by light non-aquous phase liquids (LNAPL) bearing capacity reduction has been previously investigated from a forensic point of view. To date, all the research works have been published based on the assumption of constant contaminant saturation for the entire soil mass. In contrast, the actual LNAPLs distribution plumes exhibit complex flow patterns which are subject to physical and chemical changes with time and distance travelled from the release source. This aspect has been considered along the present text. A typical Madrid arkosic soil formation is commonly known as Miga sand. Geotechnical tests have been carried out, with Miga sand specimens, in incremental series of LNAPL concentrations in order to observe the soil engineering properties variation due to a contamination increase. Results are discussed in relation with previous studies and as a matter of fact, soil mechanics parameters change in the presence of LNAPL, showing different tendencies according to each test and depending on the LNAPL content, as well as to the specimen’s initially planned relative density, dense or loose. Geotechnical practical implications are also commented on and analyzed. Variation on geotechnical properties may occur only within the external contour of contamination distribution plume. This scope has motivated the author to develop a physical model based on transparent soil technology. The model aims to reproduce the distribution of LNAPL into the ground due to an accidental release from a storage facility. Preliminary results indicate that the model is a potentially complementary tool for hydrogeological applications, site-characterization and remediation treatment testing within the framework of soil pollution events. A description of the test setup of an innovative three dimensional physical model for the flow of two or more phases, in porous media, is presented herein, along with a summary of the advantages, limitations and future applications for modeling with transparent material. En los primeros años de la década de los años 90, del siglo pasado, coincidiendo con la Guerra del Golfo en 1991, se investigó intensamente sobre la reutilización de suelos afectados por grandes volúmenes de vertidos de crudo, fomentándose la evaluación geotécnica de los suelos contaminados. Se describen, en el estado del arte de esta tésis, una serie de trabajos aislados en relación con la caracterización geotécnica de suelos contaminados con hidrocarburos, descripción ampliada mediante referencias relacionadas con otros tipos de contaminación de suelos. Existen estudios previos de patología de cimentaciones que analizan la reducción de la capacidad portante de suelos contaminados por hidrocarburos líquidos ligeros en fase no acuosa (acrónimo en inglés: LNAPL de “Liquid Non-Aquous Phase Liquid”). A fecha de redacción de la tesis, todas las publicaciones anteriores estaban basadas en la consideración de una saturación del contaminante constante en toda la extensión del terreno de cimentación. La distribución real de las plumas de contaminante muestra, por el contrario, complejas trayectorias de flujo que están sujetas a cambios físico-químicos en función del tiempo y la distancia recorrida desde su origen de vertido. Éste aspecto ha sido considerado y tratado en el presente texto. La arena de Miga es una formación geológica típica de Madrid. En el ámbito de esta tesis se han desarrollado ensayos geotécnicos con series de muestras de arena de Miga contaminadas con distintas concentraciones de LNAPL con el objeto de estimar la variación de sus propiedades geotécnicas debido a un incremento de contaminación. Se ha realizado una evaluación de resultados de los ensayos en comparación con otros estudios previamente analizados, resultando que las propiedades mecánicas del suelo, efectivamente, varían en función del contenido de LNAPL y de la densidad relativa con la que se prepare la muestra, densa o floja. Se analizan y comentan las implicaciones de carácter práctico que supone la mencionada variación de propiedades geotécnicas. El autor ha desarrollado un modelo físico basado en la tecnología de suelos transparentes, considerando que las variaciones de propiedades geotécnicas únicamente deben producirse en el ámbito interior del contorno de la pluma contaminante. El objeto del modelo es el de reproducir la distribución de un LNAPL en un terreno dado, causada por el vertido accidental de una instalación de almecenamiento de combustible. Los resultados preliminares indican que el modelo podría emplearse como una herramienta complementaria para el estudio de eventos contaminantes, permitiendo el desarrollo de aplicaciones de carácter hidrogeológico, caracterización de suelos contaminados y experimentación de tratamientos de remediación. Como aportación de carácter innovadora, se presenta y describe un modelo físico tridimensional de flujo de dos o más fases a través de un medio poroso transparente, analizándose sus ventajas e inconvenientes así como sus limitaciones y futuras aplicaciones.

L'art de briller en société et de se conduire dans toutes les circonstances de la vie.

Appended: His La mythologie de tous les temps, de tous les lieux, et de tous les peuples; Sand, G. Mauprat; Sand, G. La petite Fadette.

Autoethnography : critical appreciation of an emerging art

In this article, the author discusses how she applied autoethnography in a study of the design of hypermedia educational resources and shows how she addressed problematic issues related to autoethnographic legitimacy and representation. The study covered a 6-year period during which the practitioner’s perspective on the internal and external factors influencing the creation of three hypermedia CD-ROMs contributed to an emerging theory of design. The author highlights the interrelationship between perception and reality as vital to qualitative approaches and encourages researchers to investigate their reality more fully by practicing the art of autoethnography.