Steeltown scene : genre, performance and identity in the alternative independent music scene in Hamilton, Ontario

This thesis examines the independent alternative music scene in the city of Hamilton, Ontario, also known, with reference to its industrial heritage, as "Steeltown." Drawing on the growing literature on the relationship between place and popular music, on my own experience as a local musician, direct observation of performances and of venues and other sites of interaction, as well as ethnographic interviews with scene participants, I focus on the role of space, genre and performance within the scene, and their contribution to a sense of local identity. In particular, I argue that the live performance event is essential to the success of the local music scene, as it represents an immediate process, a connection between performers and audience, one which is temporally rooted in the present. My research suggests that the Hamilton alternative music scene has become postmodern, embracing forms of "indie" music that lie outside of mainstream taste, and particularly those which engage in the exploration and deconstruction of pre-existing genres. Eventually, however, the creative successes of an "indiescene" permeate mass culture and often become co-opted into the popular music mainstream, a process which, in turn, promotes new experimentation and innovation at the local level.

Instructions for an Audio Performance/Scissors Music

‘Instructions for an Audio Performance/Scissors Recording’ is a score for a performance using an amplified scissors that can be downloaded and interpreted by a performer anywhere in the world. The file functions as a manual for the performer with guidance for creating the instrument and preparing the performance space while it also provides a template for the actual sonic pattern to be followed in the live performance. Created originally for ‘Storageroom’ an online platform featuring complete exhibitions that are available for download, the piece was exhibited and interpreted in a live performance by Ayelet Lerman for the File Transfer Protocol, the contemporary section of the Haifa-Jerusalem-Tel Aviv exhibition at the Museum of Art, Haifa, Israel.

Backtracks: a devised performance

Backtracks aimed to investigate critical relationships between audio-visual technologies and live performance, emphasising technologies producing sound, contrasted with non-amplified bodily sound. Drawing on methodologies for studying avant garde theatre, live performance and the performing body, it was informed by work in critical and cultural theory by, for example, Steven Connor and Jonathan Rée, on the body's experience and interpretation of sound. The performance explored how shifting national boundaries, mobile workforces, complex family relationships, cultural pluralities and possibilities for bodily transformation have compelled a re-evaluation of what it means to feel 'at home' in modernity. Using montages of live and mediated images, disrupted narratives and sound, it evoked destablised identities which characterise contemporary lived experience, and enacted the displacement of certainties provided by family and nation, community and locality, body and selfhood. Homer's Odyssey framed the performance: elements could be traced in the mise-en-scène; in the physical presence of Athene, the narrator and Penelope weaving mementoes from the past into her loom; and in voice-overs from Homer's work. The performance drew on personal experiences and improvisations, structured around notions of journey. It presented incomplete narratives, memories, repressed anxieties and dreams through different combinations of sounds, music, mediated images, movement, voice and bodily sound. The theme of travel was intensified by performers carrying suitcases and umbrellas, by soundtracks incorporating travel effects, and by the distorted video images of forms of transport playing across 'screens' which proliferated across the space (sails, umbrellas, the loom, actors' bodies). The performance experimented with giving sound and silence performative dimensions, including presenting sound in visual and imagistic ways, for example by using signs from deaf sign language. Through-composed soundtracks of live and recorded song, music, voice-over, and noise exploited the viscerality of sound and disrupted cognitive interpretation by phenomenological, somatic experience, thereby displacing the impulse for closure/destination/home.

Effect of dietary energy and stocking density on the performance and sensible heat loss of broilers reared under tropical winter conditions

The objective of the present study was to evaluate the effects of different dietary energy levels and stocking densities on the thermoregulating parameters, live performance, and carcass traits of broilers reared under tropical winter conditions at different times of the day. In total, 1,312 one-d-old male broilers were used. Birds were allotted to three different stocking densities (10, 14 or 18 birds/m²) and two dietary energy levels (2900 or 3200 kcal ME/kg). The following parameters were evaluated:radiant heat load (RHL), rectal temperature (RT), feed intake (FI), weight gain (WG), feed conversion ratio (FCR), livability (L), production of live weight per area (WA), and carcass yield. Stocking density did not affect sensible heat loss (SRL) or rectal temperature (RT); however, as expected, sensible heat loss (SRL) and RT were influenced by time of the day, with higher values in the morning and in the afternoon, respectively. There was no effect of treatment (p>0.05) on carcass or parts yield. Feed intake was reduced in 3%, whereas weight gain and feed conversion ratio improved in 8 and 10%, respectively, as dietary energy level increased. on the other hand, stocking density did not influence live performance or carcass traits. Based on the present results, it is concluded that sensible heat loss depends on dietary energy levels and particularly on time of the day. Therefore, environmental house management is suggested during tropical winters in order to reduce differences between broiler skin and environmental temperatures in the morning and in the afternoon.

Saccharomyces Cerevisiae cell wall dietary supplementation on the performance and intestinal mucosa development and integrity of broiler chickens vaccinated against coccidiosis

This study was carried out to verify if Saccharomyces cerevisiae cell wall (SCCW) dietary supplementation (0.2%) was capable of protecting the intestinal mucosa of broiler chickens vaccinated against coccidiosis. Body weight gain, feed intake, feed conversion and intestinal mucosa morphometric parameters and epithelial loss were evaluated. In the experiment,400 day-old male chicks were distributed according to a completely randomized design in a 2x2 factorial arrangement. The following treatments were applied: T1 - no vaccination/ no SCCW supplementation; T2 - no vaccination/SCCW supplementation; T3 - vaccination/no SCCW supplementation; and T4 - vaccination/SCCW supplementation to four replicates of 25 birds each. Birds were vaccinated on the first day of age using a spray vaccine (Coccivac B®, Coopers), containing E. acervulina, E. maxima, E. mivati and E. tenella. S. cerevisiae cell wall was supplied from the first day of age. Live performance, intestinal morphometric parameters and epithelial loss were evaluated at 14, 21 and 28 days of age. Performance was affected by vaccination only at 21-days of age, when body weight gain was reduced in the vaccinated birds, but no body weight difference was observed on day 28. Vaccine also increased the crypt depth (p<0.05) in the duodenum and jejunum, suggesting a high cell activity in the crypt:villus transition area to maintain the epithelial cell turnover. Villi number/area (103,269 µm²) was not affected (p>0.05) by vaccine or cell wall supplementation, and epithelial loss was more pronounced in the duodenum and jejunum. In conclusion, the findings of this study suggest that S. cerevisiae cell wall supplementation may be an useful management tool to maintain the intestinal integrity of broilers vaccinated against coccidiosis.

Evaluation of yeast cell wall on the performance of broiles fed diets with or without mycotoxins

This experiment aimed at evaluating the effects of the interactions between aflatoxin (500 or 250 ppb) and ochratoxin (500 or 250 ppb), and the possible benefits of adding yeast cell wall to prevent the effects of these mycotoxins in broiler chickens. Relative organ weight gain and live performance were evaluated at 21 and 42 days of age. Results indicated that at the levels of mycotoxins included in the experimental diets, ochratoxin reduced feed intake and body weight gain, and aflatoxin only affect feed intake of 21-day-old birds. No interaction was observed between aflatoxin and ochratoxin at the levels used in experimental study. Yeast cell wall did not significantly reduced the deleterious effects of ochratoxins. No significant differences were observed in relative organ weight gain. Yeast cell wall improved feed conversion ratio when birds were fed either contaminated or non-contaminated feeds.

Overview on the performance of Brazilian broilers (1990 to 2009)

This article describes the genetic evolution of commercial broilers between 1990 and 2009, considering live performance, in particular, in terms of weight gain and feed conversion ratio. In order to determine if the assumption that the relationship between body weight gain and feed conversion ratio is increasing and positive, information on all broiler strains reared in Brazil were collected from several companies present in five Brazilian regions. This survey aimed at evaluating broiler live performance as a function of genetic improvement with time. Broiler performance improved, as shown by the statistical differences obtained for the following parameters: livability, live weight, daily weight gain, feed conversion ratio, and production efficiency index between 1990 and 2009. However, live weight gain and feed conversion ratio are emphasized due to the significant differences found along the studied period.

Effect of dietary betaine supplementation on the performance, carcass yield, and intestinal morphometrics of broilers submitted to heat stress

The objective of this study was to evaluate the effect of betaine in methionine- and choline-reduced diets fed to broilers submitted to heat stress. In total, 1,408 male broilers were randomly distributed into eight treatments, according to 2 × 4 (environment x diet) factorial arrangement, with eight replicates of 2 birds each. Birds were reared environmental chambers under controlled temperature (25-26 °C) or cyclic heat-stressing temperature (25-31 °C). The following diets were tested: positive control (PC), formulated to meet broiler nutritional requirements; negative control (NC), with reduced DL-methionine and choline chloride levels; and with two supplementation levels of natural betaine to the negative control diet (NC+NB1 and NC+NB2). Live performance, carcass traits, and intestinal morphometrics were evaluated when broilers were 45 days of age. The results showed that all evaluated parameters were influenced by the interaction between environment and diet, except for breast meat drip loss. The breakdown of the interactions showed that birds fed the PC diet and reared in the controlled environment had greater breast drip loss than those submitted to the cyclic heat-stress environment. Birds submitted to cyclic heat stress and fed the PC diet presented the lowest feed intake. Feed conversion ratio was influenced only by diet. The FCR of broilers fed the NC+NB2 diet was intermediate relative to those fed the PC and NC diets. The addition of betaine in the diet, with 11.18% digestible methionine and 24.73% total choline reductions, did not affect broiler live performance, carcass yield, or intestinal morphometrics.

Effects of dietary clinoptilolite and calcium levels on the performance and egg quality of commercial layers

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Effect of Optimum® High Oil Corn on Performance and Carcass Characteristics of Finishing Yearling Steers

Steers fed Optimum® high oil corn had statistically similar live performance as steers fed isogenetic control corn or the control corn + fat. Numerically steers fed high oil corn gained 3% faster during the 107-day study with similar feed conversion. During the first half of the experiment, steers fed high oil corn did not perform as well as those fed control corn. During the second half of the experiment, steers fed high oil corn gained 21% faster and were 17% more efficient. There were no effects of feeding high oil corn on carcass characteristics, except there were more Choice carcasses from the steers fed high oil corn as compared with control corn (57% vs. 43% Choice).

Counting Her Dresses and other plays

Counting Her Dresses and other plays, devised by Lib Taylor, is a short, mixed-media, promenade performance based on theatre writings by Gertrude Stein. Gertrude Stein was an American writer who lived in Paris for most of her adult life and was a significant figure in the development of early twentieth century modernism. She was an artists’ patron and one of the first collectors of paintings by Picasso, Matisse, Cezanne and others. She wrote novels, short stories, poetry and criticism, as well as a number of very short ‘plays’ and opera libretti. Even though her plays are very rarely performed they have been very influential in the development of avant-garde theatre. The performance juxtaposes a soundcape of voices, live performance, an ‘exhibition’ of paintings and mediated images projected onto and across the space to evoke Stein’s sense of theatre as a place of experience and emotion, not as a place of story and action. The performance comprises five theatre fragments which have been combined in a collage that alludes to the experimental art that Stein promoted.

Ultra High Temperatures #1

Ultra High Temperature #1, initiated by Rebecca Bibby forms the first in an ongoing project which explores the realms of collaboration, performance, writing and publication as artistic vehicle of production, dispersion and progression. With Bibby's text -that re-fictions the futuristic projections of technosexuality in Metropolis (1927)- at its core was launched, printed, compiled and distributed in a live performance by POLLYFIBRE at Eastside Projects in Birmingham. The limited edition printed publication was designed by An Endless Supply whose Risograph stencil printer was used as an instrument in the performed production of the text. As a crude avatar of Rebecca Bibby’s practice, Aikon-II, a mechanically programmed signature machine automatically signed each copy of the text during the performance. POLLYFIBRE's ‘flat-pack’ costumes were on display throughout the duration of the exhibition. POLLYFIBRE is a performance project created by Christine Ellison.

The Institute of Psychoplasmics

ABSTRACT: The Institute of Psychoplasmics is a group exhibition dealing with cults, rituals and the metaphor of the body politic. A key interest of the project is the way in which cultic groupings challenge the integrity of the social body by producing another within it. The exhibition, book and events explore parallels between the operations of new religious movements in the context of neo-liberalism and the forms of collectivity posited by contemporary art. These issues were addressed through a gallery display, academic essays, discussion, adult and children focused workshops and live performance event. The exhibition design, which considered the gallery as a research institute, itself investigated strategies of collaboration and psycho-social manipulation. The show was curated by Pil and Galia Kollectiv and commissioned by the Pump House Gallery in London and supported by Outset, Arts Council England and the Henry Moore Foundation. The exhibition included work by a.a.s., Insectoid, Diann Bauer, Amanda Beech, Mikko Canini, Seth Coston, Rod Dickinson, Pil and Galia Kollectiv, Tai Shani, Francis Upritchard and Roman Vasseur. A publication edited by the curators, features writing by Suhail Malik, Amanda Beech, Pil and Galia Kollectiv, Gilad Elbom, Tom McCarthy, Emily McMehen and Travis Jeppesen.

Flatpack revolution

The project consists of a trilogy of films and a live performance. The Future trilogy takes IKEA riot of 2005 as the starting point for a speculative history of a fictional future, culminating in a choreographed re-enactment of the original event. Shot on 16mm and 8mm film, the series explores the possibility of collective action emerging from the capitalist relations inherent in the consumer riot. The live performance No Haus Like Bau, staged at the HAU 1 theatre in Berlin for the 5th Berlin Biennale, continues this research into re-enactment and post-1989 politics by dramatizing the rise and fall of the soviet union as a neo-Constructivist mime using a stage set made of flatpack furniture. Using the aesthetics of Modernism and the avant garde, from Constructivist and Futurist constumes to biomechanics and Bauhaus theatre theory, the project transposes early twentieth century utopian ideology to a present day setting where mass uprisings are motivated by cheap commodities. These explorations of consumerism and revolution have been widely exhibited internationally and supported by Film London, Arts Council England, Collective Gallery and the Berlin Biennale. The Future Trilogy formed the basis of a solo exhibition at the Te Tuhi Art Centre in Auckland, New Zealand and was screened as part of the Signal and Noise media art festival in Vancouver, as well as other exhibitions and screenings including “Roll it to Me” at Collective Gallery, Edinburgh, and Apocatopia, Castlefield Gallery, Manchester.

Future Monument

Based on a series of collage made from images of mega yachts, the Future Monument looks at the possibility of taking late capitalism more seriously as an ideology than it takes itself seriously. The project asks whether the private display of wealth and power represented by the yacht can be appropriated for a new language of public sculpture. The choreographed live performance of the construction of the large scale monument was scripted to a proposed capitalist manifesto and took place in a public square in Herzliya, Israel. It aimed to articulate the ideology latent in capitalism’s claims to a neutral manifestation of human nature. The Future Monument project was developed through reading seminars taking place at Goldsmiths College, as part of a research strand headed by Pil and Galia Kollectiv on irony and overidentification within the Political Currency of Art research group. This research has so far produced a series of silk screen collage prints, a sculpture commissioned by the Essex Council and a live performance commissioned by the Herzliya Biennale. However, the project is ongoing, with future outputs planned including a curated exhibition and conference in 2012, in collaboration with Matthew Poole, Programme Director of the Centre for Curatorial Studies at the University of Essex.