We are happy to announce an exhibition Paper Shadows 2016 by Guy Sherwin, as a result of his activity during his stay at Studio Kura. This will be shown as a part of Itoshima International Art Festival 2016, Itoshima Arts Farm. Guy Sherwin is an artist based in London who works with 16mm film and other forms of moving image. He studied painting before becoming involved with the London Film-Makers Co-operative. The work is about elemental ideas of form, pattern, light and rhythm, either shot with a camera or hand-made directly on film. The films are sometimes shown in galleries but more often presented as projection events, using several projectors and live interventions. For these he collaborates with Lynn Loo (also on the residency) and together they have toured programmes of live cinema internationally. Here are some words from the artist himself. An installation made for the missing Shoji screens in the large tatami room at House 2. The projected images were recorded in the same space at different times of day and night. The aim is to (re)direct viewers attention to the presence of space and time and is a continuation of my previous work.
This article discusses current issues around the provision of music technology in British universities. The discussion is based on the most current results from the project ‘Betweening’, funded by Palatine (Higher Education Academy). The aim of the project was to explore the educational landscape of music technology in HE and to provide an oversight of the different models used. The way a particular discipline – music technology – becomes established and how it evolves has as much to do with institutional and governmental politics, social constructs and pedagogical methodologies, as it does with the discipline itself. As well as an overview of the findings from quantitative studies (published in detail in Boehm 2006), this article discusses the findings from the qualitative information gathered from the Betweening project in order to provide an overview of the educational landscape of music technology in higher education in Britain today.
Halligan, Benjamin (Oxford University Press (US), 2016-03-14)
This chapter outlines the changes in perceptions of electronic dance music across the phase of the introduction of virtuality. The chapter argues that such music must be read in relation to its conception of its audience, and that the audience, often cognitively impaired, responds to the music in a way that suggests ideological positions that redeem the music from accusations of cliché and racism. The chapter notes early theorizing of virtuality as giving rise to the idea or potential of a proletarian collective, as was realized in aspects of rave cultures, as associated with the idea of the “temporary autonomous zone.” The chapter turns to specific case studies from the work of Layo and Bushwacka! and Leftfield.
This book looks at the dialectical relationship between skill and deskilling in art after the ‘readymade.’ Focusing on Marcel Duchamp in the first half of the book it challenges the idea that the readymade constitutes an act of anti-art nihilism or is a simple stylistic turn. On the contrary the use of the readymade represents the basis for the transformation of art’s relationship with what Roberts calls “general social technique” (the relationship between art’s place in the social and division of labour and technological transformation).
The article provides an introduction and context for this section of Against the Day, which analyzes the ongoing protests in Russia. The mainstream interpretations of Russian events create a stereotypical picture formed by liberal narratives as a struggle with an authoritarian regime waged by a rising urban middle class. The goal of the essays here is to challenge this view and demonstrate a different and radical perspective on the process. This introduction stresses several points important for understanding the protests: the prolonged effects of privatization and neoliberal “shock therapy,” the manipulative and managerial approach to politics in the ruling elites, and the highly specific and heterogeneous constitution of the emergent subject of struggle. It also gives further insight into the global meaning of the Russian protests as the result of an “overdetermination” of electoral procedures under the conditions of the regime of managed democracy and as an expression of the limits of any “really existing democracy” in the age of biopolitical governmentality. This introduction also highlights the engaged positions of the authors, who have been active participants in the protest movement.
This essay provides an analysis of the role of design in contemporary life and its ability to influence the everyday – in essence its cultural role. The essay takes the contentious position that it is the semantic framework of ‘problem solving’ which is the bedrock of design and the semantic key to designers’ belief that they are in a position to change society. Davies proposes a better understanding of design would be gained through closer examination on the role of ‘process’ in understanding designs cultural role/inscriptions. The full text is available at the link above.
HOCKENHULL, STELLA (Amsterdam University Press, 2014)
Béla Tarr’s latest and reputedly final film, The Turin Horse (2011), takes its prompt from the story about an encounter that Nietzsche claims to have experienced with a maltreated horse on Via Carlo Alberto, Turin. Tarr’s film opens with an image of a large horse pulling a cart through the bleak, inhospitable Hungarian landscape. The mare (Ricsi) walks toward the camera, seen in close-up and from a low angle; blinkered and with a sweat-matted coat, she progresses forward, seeming to struggle with the extreme weight of her cargo. As she continues on her journey the camera reveals her driver: Ohlsdorfer (János Derzsi), a stern and unkempt bearded man whose face remains expressionless throughout the film. The wind stirs up dust on the unmade road and blows the man’s hair and the horse’s mane; at this point, with her ears set back and her eyes showing white, the animal’s demeanour signals unease and discomfort. Tarr continues his focus on the horse, the camera roving over her powerful, straining body, thus displaying the arduous work involved in this daily toil. At one point she lowers her head and gathers her strength to pull harder against the wind and, surrounded by dust, she opens and closes her mouth, quickening her pace in the process. Toward the end of the sequence the man alights and leads the animal for the remainder of their journey home.
With reference to Aylish Wood’s concept of ‘timespaces’, this essay explores the sentient spaces of fantasy film.1 It suggests that digital technologies, either in producing computer-generated or computer-assisted effects, have extended the capacity and significance of film settings by endowing them with a cognitive awareness and physical articulation more in line with film characters than with backdrops for action. Wood contends that ‘digital effects produce spaces with the ability to transform, or […] have a temporal quality, thus adding an extra dimension to the narrative progression’2 and designates these temporally-extended special-effects spaces as ‘timespaces’. However, the digitally generated/assisted landscape often moves beyond Wood’s notion of a temporally-extended space, and rather, constitutes an enhancement of setting to the level of a sentient being. Moreover, this sentience invests the narrative with a causal as well as a temporal element. In other words, sentient spaces contribute towards narrative progression in ways beyond temporal extension. Trees are especially amenable to such effects, evident, for example, in Harry Potter and the Goblet of Fire (2005) when animated tree roots malevolently ensnare one of its characters, Cedric Diggory (Robert Pattinson). The sentience of landscape is not in itself a new phenomenon, being evident in early fantasy film – for instance, the forest of The Wizard of Oz (1939) similarly assumes cognitive qualities. Yet, new animation and digital techniques facilitate a more credible anthropomorphism of settings, to the extent that they are either little different to animated characters or are conflated with them. Analogous to Wood’s contention for convergence between time and space in ‘timespaces’, this chapter therefore argues that settings have become credible sentient entities, with digital technologies effecting a diminishing/absent margin between character and setting. In so doing, it utilises the description ‘animated settings’ in relation to sentience in both the genres of animation and fantasy. Textually analysing a range of fantasy films, including the Harry Potter series (2001-11), Peter Jackson’s The Lord of the Rings trilogy (2001-03), and Steven Spielberg’s The Kingdom of the Crystal Skull (2008) amongst others, and referring to Wood’s ‘timespaces’ as well as Sigmund Freud’s theory of animism and studies of animation by Paul Wells and Chris Pallant, this essay posits a concept of sentient computer-generated imagery (CGI) as marking setting-character convergence.
Language matters. I have seen this simple statement more times than I care to remember. It is used by patients, nurses, psychologists, doctors and many other healthcare professionals. In this editorial I would like to offer a view of what a statement means to a linguist. And so, first, what we say does not just mean, it means something in a particular context; second, even more importantly, language does not consist only of words, and this is why medicine and medics should focus on their ‘way of speaking’.
Furby, Jacqueline; Joy, Stuart (Columbia University Press, 2015-07)
A consistent preoccupation of Christopher Nolan’s films is the psychological afflictions of their male protagonists, who variously experience flashbacks, hallucinations, amnesia or hyper-vigilance, and whose signs of emotional damage often stem from grief or guilt. However, mental trauma is not only a trait of Nolan’s films but is discernible across a range of genres, with a noticeable surge of psychologically disordered male characters in films of the new millennium. Akin to their post-war noir predecessors, such representations of masculinity suggest that the unstable mental state of the twenty-first century protagonist may relate to the effects of a post-9/11 milieu. What makes Nolan’s oeuvre distinctive is that his new millennium films tend to be fore-grounded by this feature, to the extent that mental aberration governs the narrative, thereby implying such characterisation as an authorial tendency. As Will Brooker notes, ‘Nolan’s authorial interest in psychological drama, his recurring themes of fear and memory and his characteristic experiments with narrative have now become established traits’ (2012: 22).
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