• Science, performance and transformation: performance for a ‘scientific’ age?

      Johnson, Paul (Taylor & Francis, 2014-09-30)
      The ‘two cultures’ of science and the arts/humanities are often considered at odds, but digital technology, and the broader implications of digital culture, provides a model for more productive forms of exchange and hybridity. This article applies theories of intercultural theatre practice to performance that works across this cultural divide to explore the types of interaction that take place. Following a historical discussion of the science/art divide, a three-fold model is proposed and explored through case studies including Djerassi and Laszlo's 2003 NO, Eduardo Kac's 1999 Genesis, Reckless Sleepers' 1996/2006 Schrödinger's Box, and John Barrow's 2002 Infinities. It is argued that science operates through the creation of mathematical models of aspects of the physical world, whilst art similarly constructs different kinds of models for understanding the social/cultural and occasionally physical world. Digital technology expands the modelling possibilities both directly, through simulation, virtual reality and integration into ‘live’ activities of augmented and intermedia performance, and through the transformative nature of digital culture.
    • Secrets, Memory, and Imagination: Psychic Space and the Cinematic Attic

      Pheasant-Kelly, Frances; Andrews, Eleanor; Hockenhall, Stella (Routeledge, 2015-08)
      The book this chapter is from examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film. Rather than simply examining the representation of the house as national symbol, auteur trait, or in terms of genre, contributors study various rooms in the domestic sphere from an assortment of time periods and from a diversity of national cinemas―from interior spaces in ancient Rome to the Chinese kitchen, from the animated house to the metaphor of the armchair in film noir.
    • Seeing with one's own ears: soundtrack as interface for theatre

      Dalgleish, Mat; Reading, Neil (University of Aveiro, 2019-03-30)
    • ‘Seeing’ my beloved: Darsan and the Sikhi perspective

      Takhar, Opinderjit Kaur; Harvey, Graham; Hughes, Jessica. (Equinox, 2018-09-01)
      Book: Sensual Religion demonstrates the value of paying attention to the senses and materials in lived religion and also leads the way for improved studies of religion as sensuality. Each of the five senses - vision, hearing, taste, touch and smell - will be covered by two chapters, the first historical and the second contemporary. The historical discussions focus on the sensuality of religion in ancient Greece, Samaria, Rome and Byzantium - including reflections on their value for understanding other historical and contemporary contexts. Chapters with a contemporary focus engage with Chinese, African-Brazilian, Sikh, First Nations and Metis, and Spanish Catholic religious lives and activities. Beyond the rich case studies, each chapter offers perspectives and arguments about better ways of approaching lived, material and performative religion - or sensual religion. Historical and ethnographic critical and methodological expertise is presented in ways that will inspire and enable readers to apply, refine and improve on their practice of the study of religions. In particular, our intention is to foreground the senses and sensuality as a critical issue in understanding religion and to radically improve multi- and inter-disciplinary research and teaching about the lived realities of religious people in this sensual world.
    • ‘Seeing’ my Beloved: Darsan and the Sikhi Perspective”. Body and Religion

      Takhar, Opinderjit Kaur (Equinox, 2018-11-09)
      ਕਾਗਾ ਕਰੰਗ ਢੰਢੋਲਿਆ ਸਗਲਾ ਖਾਇਆ ਮਾਸੁ॥ ਏ ਦੁਇ ਨੈਨਾ ਮਤਿ ਛੁਹਉ ਪਿਰ ਦੇਖਨ ਕੀ ਆਸ ॥੯੧॥1 The crows have searched my skeleton, and eaten all my flesh. But please do not touch these eyes; I hope to see my Beloved. (Guru Granth Sahib (GGS), Ang/page 1382) Sikhi, by which I refer to the teachings primarily contained in the Guru Granth Sahib (GGS), are replete with references to the eyes and for a longing to ‘see’ the Divine, often referred to as the Groom and the Beloved. The term generally used for this ‘vision’ in Indian philosophy is darśan, derived from a verb root dṛś, ‘to see’, therefore implying a vision of the Divine, and also a vision of Reality. My discussion will focus on the concept of darśan from a Sikh perspective.
    • Selfies at the border: a terror management reading

      Hampton, Claire (Liminalities, 2020-03-15)
      This article investigates selfies as a cultural practice, examining the innate agency in selfie taking, positioning selfies as a form of resistance. The analysis considers the way Syrian refugees are framing themselves and are being framed, in a variety of photographic images depicting “Europe’s migration crisis” (Crawley and Skleparis). Through an application of Ernest Becker’s discourse on the ‘terror of death’, which is the basis of the social psychology concept of terror management theory, the research asserts the significance of participation and composition in selfies. It questions both literal and conceptual framings of these images and interrogates the ethics of recognisability and response in relation to the multiple frames of conception through which we view and interpret human life.
    • Selling a dream? Information asymmetry and integrity within promotional literature for popular music courses

      Hall, Richard (Intellect Books, 2019-07-01)
      Providers of higher education have a legal responsibility to provide accurate information to students. In an increasingly marketized sector, however, promotional imperatives place pressure on providers to ‘sell’ degrees to students. Given the indeterminate nature of popular music careers, not to mention the ‘intangible product’ that is Higher Education, the implicit or explicit indication of an assurance of career success upon completion of the degree could be regarded as being overstated. This article brings to bear a qualitative linguistic analysis of the terms and constructed meanings implied within promotional literature across a range of performance-based popular music degrees. It suggests that language in this context functions in a performative sense and can perpetuate questionable conceptions of popular music careers and the efficacy of degree courses. The article concludes with suggestions of improvements that might be made across the sector in the promotion of popular music degree courses.
    • Sense-Enabled Mixed Reality Museum Exhibitions

      Mount, Sarah; Liarokapis, F.; Newman, Robert; Goldsmith, D.J.; Macan, L.; Malone, G.; Shuttleworth, J.K. (Aire-la-Ville, Switzerland: Eurographics Association, 2007)
      Explores new vistas in presenting cultural and heritage material to the general public by creating a prototype interface to exhibits using mixed reality (where augmented and virtual reality are used together). A prototype system, called SoundScape, is presented, where ambient sound is sensed by a wireless sensor network and displayed on a laptop as an animation within a 3D model of the environment. This provides a testbed on which to experiment with multi-modal heritage guides.
    • SenSor: an Algorithmic Simulator for Wireless Sensor Networks

      Mount, Sarah; Newman, Robert; Gaura, Elena; Kemp, J. (2006)
      Describes a research programme, which led to the creation of the UK's first open sourced simulator for wireless sensor networks. The aim of the work was to enable non-specialists (such as artists and environmental scientists) to quickly prototype end-user products based on wireless sensing technology.
    • 'Serena Joy' artist's book/folio (Artefact)

      Fahy, Su (Sarah Bodman , CFPR UWE, Bristol www.bookarts.uwe.ac.uk, 2016-04)
      World Book Night takes place each year on 26th April and is an International Event .WBN Collective of which I am a member produce works in association with the Centre for Fine Print Research at the University of the West of England Bristol , UK , each year.Each year the practice outcomes are shared publicly online - https://vimeo.com/164111118 and a publication / artefact is produced in a limited edition, www.bookarts.uwe.ac.uk/events/wbn2016.html This year the artist's book / folio Serena Joy has been accepted for the Tate Artists Book Collection at the Tate Galleries in London
    • Sex Education Dyptich

      Aycliffe, Margaret (2001)
      Ayliffe explores the historical and contemporary positioning of the feminine through psychoanalysis and visual theory to examine its strategic deployment by contemporary abstract painters. The artists all invoke the other as a subversive influence in rethinking abstraction. Ayliffe questions whether the generalised notion of the other equates to a gender specific identification of the feminine and whether it is possible to disentangle the feminine from generic otherness and postmodern practice.
    • Sex sells (out): Neoliberalism and erotic fan fiction

      Byrne, Aidan; Fleming, Samantha (Wiley Blackwell, 2018-05-01)
      Fiction by fans is not new: despite the development of copyright law in the eighteenth century, unofficial sequels were common. For example, Samuel Richardson’s Pamela (1740) was followed by anonymous and pseudonymous sequels and satires, including Pamela’s Conduct in High Life (1741) and Conny Keyber’s (Henry Fielding’s) An Apology for the Life of Mrs Shamela Andrews (1741). The commercial publishing world still produces such work: Jane Austen sequels and retellings include Arielle Eckstut’s Pride and Promiscuity: The Lost Sex Scenes of Jane Austen, Seth Grahame-Smith’s Pride and Prejudice and Zombies (2009), Mitzi Szereto’s Pride and Prejudice: Hidden Lusts (2011), P. D. James’s Death Comes To Pemberley (2011), Jo Baker’s Longbourn (2014), Val McDermid’s Northanger Abbey (2015), and Curtis Sittenfeld’s Eligible (2016). The market recognizes and legitimizes consumer demand for derivative fiction.
    • Shadow Stack / Pit Stack

      Heeney, Gwen (2006)
      Heeney’s work was developed to understand and comment upon the history of the property, a former brickyard, by juxtaposing it with a contemporary view on brick as artistic medium. In the process, Heeney advanced the use of brick on both a technical and aesthetic level. She combined traditional energy efficient firing/glazing methods for bricks dating back to Medieval times, with contemporary ceramic studio methods of firing/glazing; and she developed new artistic applications of bricks and brickwork to achieve a heightened sculptural quality through light and surface reflection. The process included construction and assembly of wet clay forms; sculpted and de-constructed then fired prior to re-assembly.
    • Shadow, Light and Reflectivity: Material and Metaphor: The Post Industrial Landscape as Site for Creative Practice

      Heeney, Gwen; Brownsword, Neil; Mydland, Anne Helen (Topographies of the Obsolete Publications, 2015)
    • Shadows in Plato's Cave

      Fullen, Michael A. (Lulu.com, 2007)
    • Shape of the story: Story visualization techniques

      Zeng, Xin; Mehdi, Qasim; Gough, Norman (YLEM, 2005)
      The article explores the potential of incorporating knowledge of human-to-human interaction to story visualization technology by using natural language processing and 3D computer graphic techniques. This approach generates an interactive 3D Virtual Story Environment (3DVSE) based on simplified story-based natural language input allowing the manipulation and modification of properties of the environment in real time. This paper proposes a system that would enable non-technical creative writers to render characters and scenes that are normally created by graphics specialists. i.e. allowing artists to interact with science and computer technology with ease.
    • Shaping Ceramics: from Lucie RIe to Edmund de Waal

      Jones, David (Jewish Museum., 2016-11)
    • Shelley's Eye: Travel Writing and Aesthetic Vision

      Colbert, Benjamin (Aldershot, Ashgate Publishing, 2005)
      Percy Bysshe Shelley joined the deluge of sightseers that poured onto the Continent after Napoleon's defeat in 1814, and over the next eight years Shelley followed major travelling trends, visiting Switzerland in 1816 and Italy from 1818. Shelley's Eye is the first study to address Shelley's participation in the travel culture of Post-Napoleonic Europe, and the first to consider Shelley as an important travel writer in his own right. This book is informed by original research on a wide range of period travel writings, including Mary Shelley and Shelley's neglected collaboration, History of a Six Weeks' Tour (1817), in which 'Mont Blanc' first appeared. Fully responsive to the culture of travel, Shelley's travel prose and poetry form fascinating conversations with major Romantic travellers like Byron, Wollstonecraft, and Wordsworth, as well as lesser-known but widely read travel writers of the day, including Morris Birkbeck, Charlotte Eaton, and John Chetwode Eustace. In this provocative study, Benjamin Colbert demonstrates how the Grand Tour remains a vital cultural metaphor for Shelley and his contemporaries, under pressure from mass travel and popular culture. Shelley's travel prose and 'visionary' poetry explore motives of perception underlying travel discourse and posit an authentic 'aesthetic vision' that reconfigures social, historical, and political meanings of 'sights' from the perspective of an ideal tourist-observer. Shelley's Eye offers a new perspective on Shelley's intellectual history. It is also a timely and important contribution to recent interdisciplinary scholarship that aims to re-evaluate Romantic idealism in the context of physical, experiential, or material cultural practices. (Ashgate Publishing)
    • Sherlock Holmes – The Hound of the Baskervilles

      Arnott, Steve (London: Pollock’s Toy Theatres Ltd, 2007)
      Working with Pollock’s Toy Museum, this play draws upon the traditions of toy theatre through the means of digital media and reinterpretation for a modern audience. The piece also contributes to the on going digitization of the Museum’s archive. The kit is designed to be mass-produced with modern printing techniques and within modest budget; it maintains the essence of toy theatre whilst being aware of current media practice, software and techniques. Proposed by Arnott to the Museum as a project, the production developed through meetings, collaboration and detailed research. The work reflects traditional aspects of toy theatre and is designed to appeal to wide audience and makes the text accessible to children. The submission is a synthesis of traditional and modern designs. It remains faithful to the original story and production values.