School of Art & Designhttp://hdl.handle.net/2384/2946112024-03-29T07:28:33Z2024-03-29T07:28:33ZEmptying FramesHenderson, Neilhttp://hdl.handle.net/2384/2950052019-08-30T13:47:21Z2010-10-01T00:00:00ZEmptying Frames
Henderson, Neil
This short essay brings together some thoughts about two films, both of which take as their starting point the photographic still image and use film to expand and question the immobility of that image, teasing out small shifts and changes in its appearance. What follows are some observations about how these films reflect on their photographic materiality, the relationship between the still and moving image, the filmic interval, and the film and its projector. In the context of animation both films explore the boundaries of what constitutes the form. What are the most minimal conditions for ‘animation’ to take place? Can movement come from a single still image? In Candle (2007) and Tidal (2007), two obsolete and disappearing media come together to reflect on their own condition, their material and temporalit
2010-10-01T00:00:00ZWe have eyes as well as ears: experimental music and the visual artsRyan, Davidhttp://hdl.handle.net/2384/2950042019-08-30T13:47:22Z2009-09-01T00:00:00ZWe have eyes as well as ears: experimental music and the visual arts
Ryan, David
This chapter deals with the relationship, influence, and reciprocal nature, of the visual arts and experimental music. While it connects with contemporary practices, it also attempts to trace certain historical threads back to Cage, the abstract expressionist painters and the discourses evolving from these. It looks at dominant ideas emanating from modernist notions – firstly formalist and media specific ideas and then conceptual and environmental influences. It argues that visual art’s evolving open space of discourse has allowed a platform for experimental music that traditional musical contexts have denied.
2009-09-01T00:00:00ZBallard's Story of O: ‘The Voices of Time’ and the Quest for (Non)IdentityWymer, Rowlandhttp://hdl.handle.net/2384/2950212019-08-30T13:47:00Z2012-01-01T00:00:00ZBallard's Story of O: ‘The Voices of Time’ and the Quest for (Non)Identity
Wymer, Rowland
The Voices of Time’ is the key work from Ballard’s early period, prefiguring the tone and narrative direction of the ‘disaster’ novels and eloquently articulating one of his lifelong preoccupations – the search for identity in a changing environment. At one level the story is a poetic meditation on time and death, an evocation of change and degeneration on a cosmic scale which recalls such works as Spenser’s ‘Mutabilitie Cantos’ or Donne’s ‘The First Anniversary’. Like Donne, Ballard employs up-to-the-minute scientific rhetoric to reinvigorate and revalidate a very traditional lament about the inevitability of decay. Such a lament is also present both in ‘classic’ science fiction texts such as The Time Machine or John W. Campbell’s ‘Twilight’ and in important ‘New Wave’ stories like M. John Harrison’s ‘Running Down’ or Pamela Zoline’s ‘The Heat Death of the Universe’. However, Ballard’s handling of this theme acquires some of its uniqueness from the fact that he was strongly interested in the ideas of both Freud and Jung. Consequently, the protagonist’s quest for identity within the ceaseless flow of time can be read with equal ease as a successful process of Jungian individuation or as a disastrous surrender to the Freudian death drive. At the heart of the story is what Rosemary Jackson has called the ‘goal which lies behind all fantastic art . . . the arrival at a point of absolute unity of self and other, subject and object, at a zero point of entropy’. Whether this ‘zero point’ represents a completion of self or a loss of self, whether the ‘O’ is full or empty, becomes impossible to say, as is also the case with Pauline Reage’s erotic classic The Story of O, which Ballard greatly admired.
2012-01-01T00:00:00ZForm and function: examples of music interface designHoadley, Richardhttp://hdl.handle.net/2384/2950032019-08-30T13:46:41Z2010-09-01T00:00:00ZForm and function: examples of music interface design
Hoadley, Richard
This paper presents observations on the creation of digital music controllers and the music that they generate from the perspectives of the designer and the artist. In the case of musical instruments, what is the role of the form (the hardware) where it concerns the function (the production of musically interesting sounds)? Specific projects are presented, and a set of operational principles is supported from those examples. The associated encounter session will allow delegates to experiment with the interfaces exhibited, further informing these principles.
2010-09-01T00:00:00Z