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Selected AbstractsTeaching and Learning Guide for: Memoryscape: How Audio Walks Can Deepen Our Sense of Place by Integrating Art, Oral History and Cultural GeographyGEOGRAPHY COMPASS (ELECTRONIC), Issue 5 2008Toby Butler Author's Introduction This article is concerned with the history and practice of creating sound walks or ,memoryscapes': outdoor trails that use recorded sound and spoken memory played on a personal stereo or mobile media to experience places in new ways. It is now possible to cheaply and easily create this and other kinds of located media experience. The development of multi-sensory-located media (,locedia') presents some exciting opportunities for those concerned with place, local history, cultural geography and oral history. This article uses work from several different disciplines (music, sound art, oral history and cultural geography) as a starting point to exploring some early and recent examples of locedia practice. It also suggests how it might give us a more sophisticated, real, embodied and nuanced experience of places that the written word just can not deliver. Yet, there are considerable challenges in producing and experiencing such work. Academics used to writing must learn to work in sound and view or image; they must navigate difficult issues of privacy, consider the power relations of the outsider's ,gaze' and make decisions about the representation of places in work that local people may try and have strong feelings about. Creating such work is an active, multi-sensory and profoundly challenging experience that can offer students the chance to master multi-media skills as well as apply theoretical understandings of the histories and geographies of place. Author Recommends 1.,Perks, R., and Thomson, A. (2006). The oral history reader, 2nd ed. London: Routledge. This is a wonderful collection of significant writing concerned with oral history. Part IV, Making Histories features much of interest, including a thought-provoking paper on the challenges of authoring in sound rather than print by Charles Hardy III, and a moving interview with Graeme Miller, the artist who created the Linked walk mentioned in the memoryscape article. These only feature in the second edition. 2.,Cresswell, T. (2004). Place: a short introduction. Oxford, UK: Blackwell. A refreshingly clear and well-written guide to the different theoretical takes on what makes places , a good starting point for further reading. 3.,Carlyle, A. (ed.). (2008). Autumn leaves: sound and the environment in artistic practice. Paris, France: Double Entendre. This is a collection of short essays and examples of located sonic media art; it includes interviews with practitioners and includes Hildegard Westekamp's Soundwalking, a practical guide to leading students on a mute walk. Lots of thought provoking, applied reading material for students here. 4.,Blunt, A., et al. (eds) (2003). Cultural geography in practice. London: Arnold. A great book for undergraduate and postgraduate students , concepts explained and lots of examples of actually doing cultural geography. The chapter on mapping worlds by David Pinder is particularly useful in this context. 5.,Pinder, D. (2001). Ghostly footsteps: voices, memories and walks in the city. Ecumene 8 (1), pp. 1,19. This article is a thoughtful analysis of a Janet Cardiff sound walk in Whitechapel, East London. Online Materials http://www.memoryscape.org.uk This is my project website, which features two online trails, Dockers which explores Greenwich and the memories of the London Docks that are archived in the Museum of London, and Drifting which is a rather strange experiment-combining physical geography and oral history along the Thames at Hampton Court, but still makes for an interesting trail. Audio, maps and trails can be downloaded for free, so students with phones or iPods can try the trails if you are within reach of Surrey or London. The site features an online version, with sound-accompanying photographs of the location. http://www.portsofcall.org.uk This website has three more trails here, this time of the communities surrounding the Royal Docks in East London. The scenery here is very dramatic and anyone interested in the regeneration of East London and its impact on local communities will find these trails interesting. Like Dockers, the walks feature a lot of rare archive interviews. This project involved a great deal of community interaction and participation as I experimented with trying to get people involved with the trail-making process. The site uses Google maps for online delivery. http://www.soundwalk.com This New York-based firm creates exceptionally high-quality soundwalks, and they are well worth the money. They started by producing trails for different districts of New York (I recommend the Bronx Graffiti trail) and have recently made trails for other cities, like Paris and Varanassi in India. http://www.mscapers.com This website is run by Hewlett Packard, which has a long history of research and development in located media applications. They currently give free licence to use their mscape software which is a relatively easy to learn way of creating global positioning system-triggered content. The big problem is that you have to have a pricey phone or personal digital assistant to run the software, which makes group work prohibitively expensive. But equipment prices are coming down and with the new generations of mobile phones developers believe that the time when the player technology is ubiquitous might be near. And if you ask nicely HP will lend out sets of equipment for teaching or events , fantastic if you are working within reach of Bristol. See also http://www.createascape.org.uk/ which has advice and examples of how mscape software has been used for teaching children. Sample Syllabus public geography: making memoryscapes This course unit could be adapted to different disciplines, or offered as a multidisciplinary unit to students from different disciplines. It gives students a grounding in several multi-media techniques and may require support/tuition from technical staff. 1.,Introduction What is a located mediascape, now and in the future? Use examples from resources above. 2.,Cultural geographies of site-specific art and sound Theories of place; experiments in mapping and site-specific performance. 3.,Walk activity: Westergard Hildekamp , sound walk, or one of the trails mentioned above The best way , and perhaps the only way , to really appreciate located media is to try one in the location they have been designed to be experienced. I would strongly advise any teaching in this field to include outdoor, on-site experiences. Even if you are out of reach of a mediascape experience, taking students on a sound walk can happen anywhere. See Autumn Leaves reference above. 4.,Researching local history An introduction to discovering historical information about places could be held at a local archive and a talk given by the archivist. 5.,Creating located multimedia using Google maps/Google earth A practical exercise-based session going through the basics of navigating Google maps, creating points and routes, and how to link pictures and sound files. 6.,Recording sound and oral history interviews A practical introduction to the techniques of qualitative interviewing and sound recording. There are lots of useful online guides to oral history recording, for example, an online oral history primer http://www.nebraskahistory.org/lib-arch/research/audiovis/oral_history/index.htm; a more in depth guide to various aspects of oral history http://www.baylor.edu/oral%5fhistory/index.php?id=23566 or this simple oral history toolkit, with useful links to project in the North of England http://www.oralhistorynortheast.info/toolkit/chapter1.htm 7.,Sound editing skills Practical editing techniques including working with clips, editing sound and creating multi-track recordings. The freeware software Audacity is simple to use and there are a lot of online tutorials that cover the basics, for example, http://www.wikieducator.org/user:brentsimpson/collections/audacity_workshop 8.,Web page design and Google maps How to create a basic web page (placing pictures, text, hyperlinks, buttons) using design software (e.g. Dreamweaver). How to embed a Google map and add information points and routes. There is a great deal of online tutorials for web design, specific to the software you wish to use and Google maps can be used and embedded on websites free for non-profit use. http://maps.google.com/ 9,and 10. Individual or group project work (staff available for technical support) 11.,Presentations/reflection on practice Focus Questions 1What can sound tell us about the geographies of places? 2When you walk through a landscape, what traces of the past can be sensed? Now think about which elements of the past have been obliterated? Whose past has been silenced? Why? How could it be put back? 3Think of a personal or family story that is significant to you. In your imagination, locate the memory at a specific place. Tell a fellow student that story, and describe that place. Does it matter where it happened? How has thinking about that place made you feel? 4What happens when you present a memory of the past or a located vision of the future in a present landscape? How is this different to, say, writing about it in a book? 5Consider the area of this campus, or the streets immediately surrounding this building. Imagine this place in one of the following periods (each group picks one): ,,10,000 years ago ,,500 years ago ,,100 years ago ,,40 years ago ,,last Thursday ,,50 years time What sounds, voices, stories or images could help convey your interpretation of this place at that time? What would the visitor hear or see today at different points on a trail? Sketch out an outline map of a located media trail, and annotate with what you hear/see/sense at different places. Project Idea small group project: creating a located mediascape Each small group must create a located media experience, reflecting an aspect of the history/geography/culture of an area of their choosing, using the knowledge that they have acquired over the course of the semester. The experience may be as creative and imaginative as you wish, and may explore the past, present or future , or elements of each. Each group must: ,,identify an area of interest ,,research an aspect of the area of the groups choosing; this may involve visiting local archives, libraries, discussing the idea with local people, physically exploring the area ,,take photographs, video or decide on imagery (if necessary) ,,record sound, conduct interviews or script and record narration ,,design a route or matrix of media points The final project must be presented on a website, may embed Google maps, and a presentation created to allow the class to experience the mediascape (either in the classroom or on location, if convenient). The website should include a brief theoretical and methodological explanation of the basis of their interpretation. If the group cannot be supported with tuition and support in basic website design or using Google mapping with sound and imagery, a paper map with locations and a CD containing sound files/images might be submitted instead. For examples of web projects created by masters degree students of cultural geography at Royal Holloway (not all sound based) see http://www.gg.rhul.ac.uk/MA/web-projects.html [source] Consistency of quasi-static boundary value problems in electromagnetic modellingINTERNATIONAL JOURNAL OF NUMERICAL MODELLING: ELECTRONIC NETWORKS, DEVICES AND FIELDS, Issue 6 2006S. Suuriniemi Abstract This paper analyses the possibility to computationally settle consistency of field problems, especially those arising from electromagnetic modelling: the electromagnetic theory is expressed in field-oriented concepts, which allow for formulation of boundary value problems with no solution at all or infinitely many solutions. This possibility of such inconsistent problems decreases the productivity of electromagnetic design software. This paper relates the consistency question to topological aspects of the model domain, and proposes a scheme for routine computation of the relevant topological aspects of electromagnetic models. Copyright © 2006 John Wiley & Sons, Ltd. [source] Prediction of cooling time in injection molding by means of a simplified semianalytical equationADVANCES IN POLYMER TECHNOLOGY, Issue 3 2003D. M. Zarkadas Abstract A simplified semianalytical equation, used successfully in food freezing/chilling time prediction, is proposed as a potential simple alternative for cooling time prediction in injection molding of polymer parts, amorphous or semicrystalline. This equation is based on a convective boundary condition for the mold-part interface and requires information on the thermal contact resistance (TCR) or thermal contact conductance (TCC) at this interface, as well as information on the initial and final product temperatures, the mold surface temperature, and the thermal properties of the part. Eighty-five data points for four polymers, Polystyrene (PS), Polycarbonate (PC), Polypropylene (PP), and Polyethylene (PE) were generated with C-MOLDŌ, a commercial injection molding design software, and the performance of the proposed equation was tested. The % mean error and its standard deviation (SD) in cooling time prediction were, respectively, ,11.61 and 2.27 for PS, ,6.04 and 2.13 for PC, ,7.27 and 6.55 for PP, and ,8.88 and 2.93 for PE. It was also shown that the accuracy of the proposed equation is not affected significantly by the exact knowledge of the TCC, provided that the latter is not smaller than 1000,2000 W m,2 K,1. Since in this comparison all necessary temperatures were obtained from C-MOLDŌ, methods of using the proposed equation independently were tested. The use of the inlet melt temperature as the initial product temperature increased the % mean error by mostly 1.5% while its SD remained practically the same. By incorporating a literature based heat balance method in the proposed equation, it was possible to use it as a stand-alone predictor of polymer cooling time. The % mean error and its SD calculated this way were, respectively, ,9.44 and 0.97 for PS, ,9.44 and 0.83 for PC, ,14.22 and 5 for PP, and ,20.12 and 1.38 for PE. The proposed equation, at least in a preliminary stage, can be used successfully to predict the cooling time of the selected semicrystalline or amorphous polymers with the accuracy being higher for amorphous polymers. © 2003 Wiley Periodicals, Inc. Adv Polym Techn 22: 188,208, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/adv.10048 [source] Geometry and New and Future Spatial PatternsARCHITECTURAL DESIGN, Issue 6 2009Helmut Pottman Abstract Despite architects' preoccupation with designing geometric surfaces, there has remained a gap between design and construction. The realisation of complex architectural freeform shapes and the generation of panel patterns continues to be especially challenging, limited by material and manufacturing constraints. Here, Helmut Pottmann, Head of Geometric Modelling and the Industrial Geometry Group within the Institute of Discrete Mathematics and Geometry at Vienna University of Technology (TU Vienna), explores the possibilities thrown up by new research employing fabrication-aware design software. Copyright © 2009 John Wiley & Sons, Ltd. [source] Pattern Deposition: From Scripts to ApplicationsARCHITECTURAL DESIGN, Issue 6 2009Mike Silver Abstract Is the widespread adoption of existing design software appropriated from other disciplines limiting architects' potential for pattern-making? Could the development of complex code applied to equally complex pattern problems open up alternative avenues of expression? Mike Silver illustrates work by himself and other architects and artists that suggest that new kinds of software-driven pattern recognition and simulation computer models are opening up the field. Copyright © 2009 John Wiley & Sons, Ltd. [source] Improving the optics of KProsACTA OPHTHALMOLOGICA, Issue 2009C HULL Purpose The purpose of this talk is to review the clinically relevant optical and visual requirements of keratoprostheses. Methods Modelling of designs using commerical and purpose-written optical design software as well as clinical measurments on a small number of patients implanted with the osteo-odonto keratprosthesis optical cylinder. Results The important visual optical proerties of any keratoprosthesis optic are the foveal image quality (affecting the acuity) and the field of view. These fundamentally depend upon the pupil size, and the length and diameter of the optic since the power must be fixed to give emmetropia. The axial image quality can be changed by controlling the spherical aberration. However, maximising axial (foveal) image quality causes poorer off-axis image quality potentially reducing the effective visual field. Shorter, larger diameter optics help improve the visual field as well as consideration of off-axis image quality. Conclusion The theoretical properties of keratoprosthesis optics must be balanced against other clinical requirements such as longterm complications and stability. The clinical requirements provide the constraints on the optical design. However, discussions can usefully happen between surgeons and those involved in the design of the optics to give the best possible visual rehabilitation. [source] | ||||||||||