Something like an emergency

‘Something like an emergency’, a sonic poem recorded on CD, investigates the hunger of writing as a desire, not for a return of the dead, but for a breakthrough of impasses in language, both in love and in the writer’s (frustrated) translation of vision. Proceeding from Bachelard’s phenomenological observation that the poetic image puts language in a state of emergence, this work argues, instead, that poetry puts language in a state of emergency. Deleuze and Guattari’s idea of music as a deterriorialization of the refrain; a rhythmic pattern which marks out a territory, is invoked in both the music performance and in the words. The writing uses a ‘matting’ (rhizomatic) effect in its verse fragments which echo and refract others. Reverberation is also explored in the piano and its sonic processing which provides elements of dissonance and consonance, refracting dialogues in the text. Voice and music sometimes argue, sometimes agree, and sometimes are indistinguishable. However, this dialectic is further disturbed: at times the piano and voice seem to pay no attention to each other, taking off on their own ‘lines of flight’, in subversion of ‘collaboration’. In its use of recorded improvisational techniques this work also challenges the ‘superiority’ of live improvisation.
It was first performed at Double Dialogues conference, ‘The Hunger Artist: Food and the Arts’, Toronto, 2010. The text and accompanying discursive article form a book chapter in 2012 Food and Appetites: The Hunger Artist and the Arts, Ann McCulloch and Pavlina Radia(eds). It has been broadcast on RRR, 3CR radios and is released on CD and Youtube. By invitation it was performed at the Midsumma Festival, 2014.

MUSICAL IMPROVISATION AND THE CREATIVE PROCESS

Musical improvisation combines technical proficiency and musical intuition. Due to its interactive nature, improvisation provides an avenue of communication among all art forms. This dissertation project explores the collaborative aspects of improvisation involving a musician, visual artist, a small group of dancers, and videographer. Video footage from two separate recording sessions provided hours of visual materials which were studied and edited. The first session was a live performance recorded in front of a studio audience. The second session was a two-day collaboration between musician and dancers in a studio space. The process of editing and compiling images with audio-an important element in this project-presented many unforeseeable challenges and lessons. This recorded dissertation is comprised of seven music videos that demonstrate my ability as an artist in collaboration with visual artist-professor Richard Klank, dancers David Yates, Jamie Garcia, Raha Behnam, Rachel Wolfe and Adrian Galvin, and video artist Nguyen Nguyen. Each video represents an individual creative process involving musical performance, studio lighting, sound recording, and video editing.

Nico Assumpção and jazz bass improvisation

The purpose of this thesis was to investigate Nico Assumpção. He has not received the interest and recognition of the American jazz audience, despite having recorded and performed with some of the greatest jazz musicians in the world. Four works were transcribed and analyzed in detail with respect to the following issues and elements: rhythmic conception, bass techniques and melodic and harmonic characteristics. Observations were made and trends examined in his music as well as his improvisational style, which illustrates his stylistic significance. Results show that Nico Assumpção is indeed representative of the Jazz Fusion and Latin Jazz styles, despite his low profile in jazz literature. This is seen in his electric bass playing through his use of Brazilian and other Latin elements in conjunction with a jazz vocabulary. This is exemplified through the transcriptions and analysis of his works.

Improvisation in interactive music systems

This project investigates machine listening and improvisation in interactive music systems with the goal of improvising musically appropriate accompaniment to an audio stream in real-time. The input audio may be from a live musical ensemble, or playback of a recording for use by a DJ. I present a collection of robust techniques for machine listening in the context of Western popular dance music genres, and strategies of improvisation to allow for intuitive and musically salient interaction in live performance. The findings are embodied in a computational agent – the Jambot – capable of real-time musical improvisation in an ensemble setting. Conceptually the agent’s functionality is split into three domains: reception, analysis and generation. The project has resulted in novel techniques for addressing a range of issues in each of these domains. In the reception domain I present a novel suite of onset detection algorithms for real-time detection and classification of percussive onsets. This suite achieves reasonable discrimination between the kick, snare and hi-hat attacks of a standard drum-kit, with sufficiently low-latency to allow perceptually simultaneous triggering of accompaniment notes. The onset detection algorithms are designed to operate in the context of complex polyphonic audio. In the analysis domain I present novel beat-tracking and metre-induction algorithms that operate in real-time and are responsive to change in a live setting. I also present a novel analytic model of rhythm, based on musically salient features. This model informs the generation process, affording intuitive parametric control and allowing for the creation of a broad range of interesting rhythms. In the generation domain I present a novel improvisatory architecture drawing on theories of music perception, which provides a mechanism for the real-time generation of complementary accompaniment in an ensemble setting. All of these innovations have been combined into a computational agent – the Jambot, which is capable of producing improvised percussive musical accompaniment to an audio stream in real-time. I situate the architectural philosophy of the Jambot within contemporary debate regarding the nature of cognition and artificial intelligence, and argue for an approach to algorithmic improvisation that privileges the minimisation of cognitive dissonance in human-computer interaction. This thesis contains extensive written discussions of the Jambot and its component algorithms, along with some comparative analyses of aspects of its operation and aesthetic evaluations of its output. The accompanying CD contains the Jambot software, along with video documentation of experiments and performances conducted during the project.

Improvisation, process drama and dramatic art

This paper re-conceptualises the notion of improvisation as it has developed in schools since the 1960s. It outlines the theoretical case for naming the distinctive improvisational practice that has emerged in schools - namely Process Drama. The paper sketches seven characteristics of Process Drama and then outlines the case for seeing it as an emerging but robust form of dramatic art. It concludes by arguing that drama teachers, in developing process drama, have created a new form of both education and art.

Song means : Analysing and interpreting recorded popular song by Allan Moore

“Who are you? How do you define yourself, your identity?” With these words Allan Moore opens his exhaustive new work proposing a more comprehensive approach to the musicological analysis of popular song. The last three decades have seen a huge expansion of the anthology of the sociological and cultural meanings of pop, but Moore’s book is not another exploration of this field, although some of these ideas are incorporated in this work. Rather, he addresses the limitations of conventional musicology when dealing particularly with songs: “I address popular song rather than popular music. The defining feature of popular song lies in the interaction of everyday words and music… it is how they interact that produces significance in the experience of song”.

Climate variability over the last 35,000 years recorded in marine and terrestrial archives in the Australian region : an OZ-INTIMATE compilation

The Australian region spans some 60° of latitude and 50° of longitude and displays considerable regional climate variability both today and during the Late Quaternary. A synthesis of marine and terrestrial climate records, combining findings from the Southern Ocean, temperate, tropical and arid zones, identifies a complex response of climate proxies to a background of changing boundary conditions over the last 35,000 years. Climate drivers include the seasonal timing of insolation, greenhouse gas content of the atmosphere, sea level rise and ocean and atmospheric circulation changes. Our compilation finds few climatic events that could be used to construct a climate event stratigraphy for the entire region, limiting the usefulness of this approach. Instead we have taken a spatial approach, looking to discern the patterns of change across the continent. The data identify the clearest and most synchronous climatic response at the time of the Last Glacial Maximum (LGM) (21 ± 3 ka), with unambiguous cooling recorded in the ocean, and evidence of glaciation in the highlands of tropical New Guinea, southeast Australia and Tasmania. Many terrestrial records suggest drier conditions, but with the timing of inferred snowmelt, and changes to the rainfall/runoff relationships, driving higher river discharge at the LGM. In contrast, the deglaciation is a time of considerable south-east to north-west variation across the region. Warming was underway in all regions by 17 ka. Post-glacial sea level rise and its associated regional impacts have played an important role in determining the magnitude and timing of climate response in the north-west of the continent in contrast to the southern latitudes. No evidence for cooling during the Younger Dryas chronozone is evident in the region, but the Antarctic cold reversal clearly occurs south of Australia. The Holocene period is a time of considerable climate variability associated with an intense monsoon in the tropics early in the Holocene, giving way to a weakened monsoon and an increasingly El Niño-dominated ENSO to the present. The influence of ENSO is evident throughout the southeast of Australia, but not the southwest. This climate history provides a template from which to assess the regionality of climate events across Australia and make comparisons beyond our region. The data identify the clearest and most synchronous climatic response at the time of the Last Glacial Maximum (LGM) (21 ± 3 ka), with unambiguous cooling recorded in the ocean, and evidence of glaciation in the highlands of tropical New Guinea, southeast Australia and Tasmania. Many terrestrial records suggest drier conditions, but with the timing of inferred snowmelt, and changes to the rainfall/runoff relationships, driving higher river discharge at the LGM. In contrast, the deglaciation is a time of considerable south-east to north-west variation across the region. Warming was underway in all regions by 17 ka. Post-glacial sea level rise and its associated regional impacts have played an important role in determining the magnitude and timing of climate response in the north-west of the continent in contrast to the southern latitudes. No evidence for cooling during the Younger Dryas chronozone is evident in the region, but the Antarctic cold reversal clearly occurs south of Australia. The Holocene period is a time of considerable climate variability associated with an intense monsoon in the tropics early in the Holocene, giving way to a weakened monsoon and an increasingly El Niño-dominated ENSO to the present. The influence of ENSO is evident throughout the southeast of Australia, but not the southwest. This climate history provides a template from which to assess the regionality of climate events across Australia and make comparisons beyond our region.

Multi-stage collapse events in the South Soufrière Hills, Montserrat as recorded in marine sediment cores

We present new evidence for sector collapses of the South Soufrière Hills (SSH) edifice, Montserrat during the mid-Pleistocene. High-resolution geophysical data provide evidence for sector collapse, producing an approximately 1 km3 submarine collapse deposit to the south of SSH. Sedimentological and geochemical analyses of submarine deposits sampled by sediment cores suggest that they were formed by large multi-stage flank failures of the subaerial SSH edifice into the sea. This work identifies two distinct geochemical suites within the SSH succession on the basis of trace-element and Pb-isotope compositions. Volcaniclastic turbidites in the cores preserve these chemically heterogeneous rock suites. However, the subaerial chemostratigraphy is reversed within the submarine sediment cores. Sedimentological analysis suggests that the edifice failures produced high-concentration turbidites and that the collapses occurred in multiple stages, with an interval of at least 2 ka between the first and second failure. Detailed field and petrographical observations, coupled with SEM image analysis, shows that the SSH volcanic products preserve a complex record of magmatic activity. This activity consisted of episodic explosive eruptions of andesitic pumice, probably triggered by mafic magmatic pulses and followed by eruptions of poorly vesiculated basaltic scoria, and basaltic lava flows.

A comparative study of side-band Fresnel holograms recorded with self-imaging and general objects

This paper deals with new results obtained in regard to the reconstruction properties of side-band Fresnel holograms (SBFH) of self-imaging type objects (for example, gratings) as compared with those of general objects. The major finding is that a distribution I2, which appears on the real-image plane along with the conventional real-image I1, remains a 2Z distribution (where 2Z is the axial distance between the object and its self-imaging plane) under a variety of situations, while its nature and focusing properties differ from one situation to another. It is demonstrated that the two distributions I1 and I2 can be used in the development of a novel technique for image subtraction.

Promoting articulated action from diverse stakeholders in response to public policy scenarios: A case analysis of the use of ‘scenario improvisation’ method

In this paper we present a novel application of scenario methods to engage a diverse constituency of senior stakeholders, with limited time availability, in debate to inform planning and policy development. Our case study project explores post-carbon futures for the Latrobe Valley region of the Australian state of Victoria. Our approach involved initial deductive development of two ‘extreme scenarios’ by a multi-disciplinary research team, based upon an extensive research programme. Over four workshops with the stakeholder constituency, these initial scenarios were discussed, challenged, refined and expanded through an inductive process, whereby participants took ‘ownership’ of a final set of three scenarios. These were both comfortable and challenging to them. The outcomes of this process subsequently informed public policy development for the region. Whilst this process did not follow a single extant structured, multi-stage scenario approach, neither was it devoid of form. Here, we seek to theorise and codify elements of our process – which we term ‘scenario improvisation’ – such that others may adopt it.

Ground motion prediction equation considering combined dataset of recorded and simulated ground motions

Himalayan region is one of the most active seismic regions in the world and many researchers have highlighted the possibility of great seismic event in the near future due to seismic gap. Seismic hazard analysis and microzonation of highly populated places in the region are mandatory in a regional scale. Region specific Ground Motion Predictive Equation (GMPE) is an important input in the seismic hazard analysis for macro- and micro-zonation studies. Few GMPEs developed in India are based on the recorded data and are applicable for a particular range of magnitudes and distances. This paper focuses on the development of a new GMPE for the Himalayan region considering both the recorded and simulated earthquakes of moment magnitude 5.3-8.7. The Finite Fault simulation model has been used for the ground motion simulation considering region specific seismotectonic parameters from the past earthquakes and source models. Simulated acceleration time histories and response spectra are compared with available records. In the absence of a large number of recorded data, simulations have been performed at unavailable locations by adopting Apparent Stations concept. Earthquakes recorded up to 2007 have been used for the development of new GMPE and earthquakes records after 2007 are used to validate new GMPE. Proposed GMPE matched very well with recorded data and also with other highly ranked GMPEs developed elsewhere and applicable for the region. Comparison of response spectra also have shown good agreement with recorded earthquake data. Quantitative analysis of residuals for the proposed GMPE and region specific GMPEs to predict Nepal-India 2011 earthquake of Mw of 5.7 records values shows that the proposed GMPE predicts Peak ground acceleration and spectral acceleration for entire distance and period range with lower percent residual when compared to exiting region specific GMPEs. Crown Copyright (C) 2013 Published by Elsevier Ltd. All rights reserved.

Seasonal variability of rainfall recorded in growth bands of the Giant African Land Snail Lissachatina fulica (Bowdich) from India

Seasonal rainfall patterns in Bangalore, India, have been reconstructed using stable isotopic ratios in the growth bands of Giant African Land Snail shells. The present study was conducted at Bangalore, India which receives rain during the summer months. The oxygen isotopic record in the rainwater samples collected during different months covering the period of the summer monsoon of the year 2008 is compared with the isotopic ratio in the gastropod growth bands deposited simultaneously. The chronology of the shell growth band is independently established assuming the growth rate observed in a chamber experiment maintaining similar relative humidity and temperature conditions. A consistent pattern observed in the isotopic ratio in the gastropod growth bands and rainwater is demonstrated and provides a novel approach for precipitation reconstruction at seasonal and weekly time scales. This approach of using isotopic ratios in the gastropod growth bands for rainfall can serve as a substitute for filling gaps in rainfall data and for cases where no rain records are available. In addition, they can be used to determine the frequencies and magnitudes of dry spells from the past records. (C) 2013 Elsevier B.V. All rights reserved.