DOCSLIB.ORG

Acoustic Ecologies in Site-Contingent Performance Manco, Fabrizio

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Acoustic Ecologies in Site-Contingent Performance Manco, Fabrizio DOCTORAL THESIS Ear Bodies: Acoustic Ecologies in Site-Contingent Performance Manco, Fabrizio Award date: 2016 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 05. Oct. 2021 Ear Bodies: Acoustic Ecologies in Site-Contingent Performance Fabrizio Manco BA (Hons.), MA, MPhil A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Drama, Theatre and Performance University of Roehampton, London 2016 Performance research in the Ugento countryside, 2008. Part of Klohi performance research in archaeological and other sites, Salento region, Italy (2005-ongoing).1 Photo: Fausta Muci. 1 Klohi is a Messapian word which purported to mean listen/hear. The Messapii lived in Salento (Puglia) in Italy, between the VIII and VII century B.C.E. The word provides me with an interesting link in my research into the acoustic-archaeological aspect of site, place and identity. The assonance of this word with ‘choclea’ is also worth noting. 1 ABSTRACT In this thesis I offer a philosophy and a performance practice of the ear. It is a theoretical reflection as well as a discussion on my hearing/listening and performance practice, research and workshops. Here is where sound and the body move and perform by relating to the constantly changing acoustic environment. It is an enquiry into and a corporeal experience of sound as the ear body, a bodied experience of sound and listening where the whole body becomes an ear. This is explored through my experience of chronic tinnitus, a criticism of over-determined technology and through a discussion on the trance-dance therapy of Tarantism. With a focus on environmental awareness, this thesis is an ecophenomenological investigation in my theory of site contingency, where I connect my ecophenomenological approach to contingency – contingency intended as a necessary experience of the world – and to acoustic ecology. It offers a methodology for performance-making, also through workshops. They are a ground for shared mutual experience and contribution, with participants from different backgrounds and abilities, and are also a pedagogical instrument, for students and others, in the form of a ‘training’ practice of the ear. This methodology becomes a basis for what I call site-contingent performance, where sound is intended and experienced as relation and as contingency. The kinaesthetics of sound is exemplified in ‘aural choreography,’ a moving by following environmental sounds, and where the experience of contingency is also in the practice of ‘earlines’ drawing; a form of performance and of acoustic documentation. 2 CONTENTS ABSTRACT 2 ACKNOWLEDGMENTS 5 INTRODUCTION 7 Speaking in listening terms: a glossary 40 PORTFOLIO STATEMENT 56 Auditory Performance Art: itinerant listening at a near distance 65 CHAPTER 1: Ear Bodies 74 1.1 Merleau-Ponty for acoustic embodiment 81 1.2 Soundscape as another disembodying technology 89 1.3 Tinnitus: Sussurrus Aurium 103 1.4 Tinnitus: the ghost in the auditory phantom stage 112 1.5 Tinnitus: fluctuations 125 1.6 Noli me tangere (cum sono) 128 1.7 Tarantism: in per sona 132 1.8 Tarantism: tarantula auris 140 1.9 SUPPLEMENT TO CHAPTER 1: Ear Bodies workshops 145 1.9.1 Walking backwards 145 1.9.2 Aerial drawing 145 1.9.3 Auditory proxemics 148 CHAPTER 2: Site-Contingent Performance 151 2.1 We are time: the sound of contingency 156 3 2.2 Ecology and acoustic ecology in site-contingent performance 163 2.3 Ecophenomenology, with repeated cascades of contingency 169 2.4 Site contingency 176 2.5 Tangible acoustic space: something might actually touch 189 2.6 Aural Choreography: “I want to be on time even if I am too late” 193 2.7 Aural Choreography: dissymetry 212 2.8 Aural Choreography: precarious architectures 216 2.9 Aural Choreography: frames of field 236 2.10 SUPPLEMENT TO CHAPTER 2 248 2.10.1 An experiment with Vito Acconci’s Association Area 248 2.10.2 Drawing earlines 251 2.10.3 Earlines drawing: Acoustic Shadow Walking 270 2.10.4 Earlines drawing: white shadow 274 2.10.5 Ear Bodies Workshops: walking drawing 278 CODA: Floored and Cornered 283 TABLE OF CONTENTS FOR ACCOMPANYING PORTFOLIO 291 BIBLIOGRAPHY 292 4 ACKNOWLEDGMENTS I would like to warmly thank both of my supervisors P.A. Skantze and Joe Kelleher. P.A. Skantze has been inspiring and generous in her support, backing, understanding of many aspects concerning not only the writing and the discussion of issues relating to my thesis and research, but also for her empathy and friendly advice, warmth and listening. I am grateful to Joe Kelleher who has considerably and consistently and specifically helped me to clarify my research path, facilitated my writing and its structuring, as well as all his general and very useful and practical advice. I also want to offer many thanks to Patrick Curry, for all of his enlightening advice, conversations and his patient and generous help in reading a draft of this thesis. Finally I would like to thank my partner Barry Davis for all his untiring support, encouragement, comprehensive help and patience. 5 To my father Vitantonio Manco (11.01.1931 - 24.12.2015) and my mother Antonia D’Aprile, passing her time in the sole company of an empty resounding cistern. 6 INTRODUCTION Some people love to divide and classify, while others are bridge-makers weaving relations that turn a divide into a living contrast, one whose power is to affect, to produce thinking and feeling. But bridge-making is a situated practice. Isabelle Stengers2 Our bodies are already in tune with acoustic space as a result of the act of listening, no matter what our level of acoustic awareness. It is this awareness which I seek to investigate, which is of a sonic and constantly auditory dynamic nature. I write from the position of an artist and lecturer/facilitator, seeing my discoveries of tools for sound and listening in performance practice as a correction of both one-dimensional sound studies and a way to address unawakened ears in performance. In my articulation about the experiencing of sound, I discuss the relation to the distinctiveness of location, and particular structures of relation, those of sound and architectural spaces, a relation between hearers in a shared space, and relations between a particular hearer and one’s own auditory experience. I argue that performance, which is always theatre – in the sense of being a ‘watching place’ (or a ‘place for watching’) from its Greek etymology theatron – is a hearing/listening place (or a place for hearing/listening), and is about many ‘auditory glances’: they are listening glances, where one also is surrounded by sound which is ‘staring’ at you.3 I open myself to the life of a theatre which began, begins, continues and ends with sound, constantly resounding in, through and with us. More than being interested in sound, it is the resounding of the many spatial, visual, social, somatic, 2 Stengers (2012), “Reclaiming,” p. 1. 3 Specifically, this brings us to a later discussion in this thesis on panpsychism in relation to sound and listening. 7 performative, environmental relationships through sound which I explore. It is through sound that I am interested in finding, uncovering and realising the visual medium and performance. It is in my consideration of sound in its ecologies in performance that I realise a constant embodied relation to it, never separated from the body as site and site as body. My body’s daily performing with the performance of sound, makes me realise my attempt to frame its overwhelming experience, in an economy of a receiving (as an openness) and a useful insight for a performance art. I argue against a still unarticulated and under-explored corporeal basis and corporeal thinking about audition, and I make aware this in movement and performance practice. My methodology works towards an interrogation of sound and listening within a corporeal understanding of site and sound in performance art and live art. Unfolding through explorations of corporeal thinking and of corporeal experience of sound, my questioning is present where the body thinks, space thinks and sound thinks. Audition is always corporeal, a far more complex and sophisticated experience than any innovative form and application of technology. I introduce technology as an integral part in the problematics of relationality, in order to complicate a current over-reliant relationship to it, which, in my view, it is frequently seen as salvific panacea to the problems of interaction in art. Specifically, in the various and contemporary interpretations of sensorial investment with location and to sonic experience in general, the desire to encapsulate and to reduce sound to either a technological (mediated) or purist (un-mediated) conception betrays a residual dualistic legacy. It is in this specific, critical and non-dualistic respect that I position an interdisciplinary and personal corporeal move to sound within performance studies – and with a particular focus on performance/live art – where I explore this complexity in and for performance.
Load more

Recommended publications
  • Performance Art
    (hard cover) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Master of Arts Fine Arts 2006 LASALLE-SIA COLLEGE OF THE ARTS (blank page) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Submitted in Partial Fulfillment of the Degree Master of Arts (Fine Arts) LASALLE-SIA College of the Arts Faculty of Fine Arts Singapore May, 2006 ii Accepted by the Faculty of Fine Arts, LASALLE-SIA College of the Arts, In partial fulfillment of the requirements For the degree Master of Arts (Fine Arts). Vincent Leow Studio Supervisor Adeline Kueh Thesis Supervisor I certify that the thesis being submitted for examination is my own account of my own research, which has been conducted ethically. The data and the results presented are the genuine data and results actually obtained by me during the conduct of the research. Where I have drawn on the work, ideas and results of others this has been appropriately acknowledged in the thesis. The greater portion of the work described in the thesis has been undertaken subsequently to my registration for the degree for which I am submitting this document. Lee Wen In submitting this thesis to LASALLE-SIA College of the Arts, I understand that I am giving permission for it to be made available for use in accordance with the regulations and policies of the college. I also understand that the title and abstract will be published, and that a copy of the work may be made available and supplied to any bona fide library or research worker. This work is also subject to the college policy on intellectual property.
    [Show full text]
  • September/October 2016 Volume 15, Number 5 Inside
    SEPTEMBER/OCTOBER 2016 VOLUME 15, NUMBER 5 INSI DE Chengdu Performance Art, 2012–2016 Interview with Raqs Media Collective on the 2016 Shanghai Biennale Artist Features: Cui Xiuwen, Qu Fengguo, Ying Yefu, Zhou Yilun Buried Alive: Chapter 1 US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 15, NUMBER 5, SEPTEMBER/OCTOBER 2016 C ONT ENT S 23 2 Editor’s Note 4 Contributors 6 Chengdu Performance Art, 2012–2016 Sophia Kidd 23 Qu Fengguo: Temporal Configurations Julie Chun 36 36 Cui Xiuwen Patricia Eichenbaum Karetzky 48 Propositioning the World: Raqs Media Collective and the Shanghai Biennale Maya Kóvskaya 59 The Good, the Bad, and the Ugly Danielle Shang 48 67 Art Labor and Ying Yefu: Between the Amateur and the Professional Jacob August Dreyer 72 Buried Alive: Chapter 1 (to be continued) Lu Huanzhi 91 Chinese Name Index 59 Cover: Zhang Yu, One Man's Walden Pond with Tire, 2014, 67 performance, one day, Lijiang. Courtesy of the artist. We thank JNBY Art Projects, Chen Ping, David Chau, Kevin Daniels, Qiqi Hong, Sabrina Xu, David Yue, Andy Sylvester, Farid Rohani, Ernest Lang, D3E Art Limited, Stephanie Holmquist, and Mark Allison for their generous contribution to the publication and distribution of Yishu. 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C. C. Liu Performance art has a strong legacy in FOUNDING EDITOR Ken Lum southwest China, particularly in the city EDITOR-IN-CHIEF Keith Wallace MANAGING EDITOR Zheng Shengtian of Chengdu. Sophia Kidd, who previously EDITORS Julie Grundvig contributed two texts on performance art in this Kate Steinmann Chunyee Li region (Yishu 44, Yishu 55), updates us on an EDITORS (CHINESE VERSION) Yu Hsiao Hwei Chen Ping art medium that has shifted emphasis over the Guo Yanlong years but continues to maintain its presence CIRCULATION MANAGER Larisa Broyde WEB SITE EDITOR Chunyee Li and has been welcomed by a new generation ADVERTISING Sen Wong of artists.
    [Show full text]
  • Heritage, Local Communities and the Safeguarding of 'Spirit of Place' in Taiwan
    80 Heritage, local communities and the safeguarding of ‘Spirit of Place’ in Taiwan Peter Davis* Newcastle University, UK, Han-yin Huang** National Chiao-tung University, Taiwan, Wan-chen Liu*** Fu-Jen Catholic University, Taiwan Abstract. After brief reviews of the theoretical concepts relating to place and ecomuseological processes this paper traces the changing relationships between people and place in Taiwan. Research carried out by the authors with local communities on Matsu (a group of Taiwanese islands off the coast of mainland China), and case study material collected from local cultural workshops in southern Taiwan provides a focus for the discussion. Both sets of data demonstrate the growing awareness of heritage by local communities in Taiwan; they recognize that heritage is significant because it reflects and builds local identities, aids community sustainability and provides a sense of place. An account is given about how these inclusive processes are applied and how they appear to benefit the heritage sector in Taiwan. By encouraging community-centred approaches, consultation, involvement and democratization, significant improvements to safeguarding natural resources, the cultural environment and intangible cultural heritage might be possible. However, striking a balance between the aspirations of local heritage activists and the wider community is difficult to achieve. Key words: Taiwan, heritage, community, sustainability, ecomuseum, Heritage and ‘sense of place’. Terms such as ‘belonging’, ‘identity’, and ‘community’ are frequently used when discussing ideas about place, and the more elusive ‘sense of place’ or ‘spirit of place’. Exploring place has been a research focus in several disciplines, including anthropology, ecology, geography, psychology, sociology and (to a lesser extent) cultural and heritage studies.
    [Show full text]
  • A Sense of Place
    Theological Studies Faculty Works Theological Studies 1-1999 A Sense of Place Douglas E. Christie Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/theo_fac Part of the Christianity Commons Recommended Citation Christie, Douglas E. “The Sense of Place,” The Way 39:1 (January, 1999): 59-72. This Article is brought to you for free and open access by the Theological Studies at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Theological Studies Faculty Works by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. 59 Theological Trends A sense of place Douglas Burton-Christie ~; g'r,l o BE ROOTED', SIMONE WEIL ONCE REMARKED, 'is perhaps the most .[ important and least recognized need of the human soul.'1 To feel oneseff at home in the world. To have a sense of place. Can the soul deepen and grow without such basic security? This question presses itself upon us with ever greater urgency in our own time. 'Isn't the twentieth century', Elie Wiesel asks, 'the age of the expatriate, the refugee, the stateless - and the wanderer? '2 Enforced movement, driven by chaotic social, political or economic forces is increasingly common; persons, indeed whole communities, are turned, sometimes overnight, into chronic wanderers. The destruc- tion and disappearance of natural places also contributes to this sense of homelessness; as business and technology reach ever further into the wilderness, marshalling its 'resources' for our use, it becomes more and more difficult to imagine the living world as home.
    [Show full text]
  • British Cochlear Implant Group Meeting Maximising Potential
    Programme and Abstract Book British Cochlear Implant Group Meeting Maximising Potential Thursday 28th and Friday 29th April 2016 London Organising Committee Guys and St Thomas’ Hospital NHS Foundation Trust Hearing Implant Centre Royal National Throat, Nose and Ear Hospital Auditory Implant Programme Invited Faculty Professor Marc Marshark National Technical Institute for the Deaf, Rochester Institute of Technology Professor Christine Petit Genetics and Physiology of Hearing Laboratory, Institut Pasteur, Paris Professor Astrid Van Wieringen Department of Neuroscience, University of Leuven Professor Christophe Vincent Centre Hospitalier, Régional Universitaire de Lille Welcome Dear Colleagues, It is our great pleasure to welcome you to Kings Place and to the 26th British Cochlear Implant Group Meeting. This year we will be focusing on the theme ‘Maximising Potential’ with an interactive conference comprising of a wide range of professionals working in the field of auditory implants. It is with this interactivity in mind that we are hosting lively structured debates on current issues. Through the use of e-voting, we encourage audience participation in the hope of provoking thought and stimulating discussion. We are very fortunate to have with us over the two days such a high quality, international faculty and are very much looking forward to their contributions. Throughout the event e-Posters will be displayed in the exhibition area. Please visit this area and view them at your leisure. As well, please see the e-Poster programme for details of when authors will be presenting their work for 2 minutes at allocated times at e-Poster stations on Level -1. We would also encourage you to visit all of the exhibitors on the mezzanine level, as without their continued support we would not be able to run this conference.
    [Show full text]
  • Downloaded from Brill.Com09/28/2021 03:24:39AM Via Free Access ,    
    Blood, Sweat and Tears. The Martyred Body in Chinese Performance Art Tania Becker When we speak of offending images in the context of contemporary Chinese art, some of us may remember articles that were published in , voices of outrage in reaction to Zhu Yu’s performance Eating People: Is it art when a man eats a dead baby? london — My God, what kind of society do we live in? A Chinese man eats a dead baby on TV and actually claims it’s art! The announcement alone unleashed one of Great Britain’s hottest debates on the freedom of the media, the press, and art: the British tv Channel wanted to broad- cast the documentary Beijing Swings, which includes photographs of Chinese artist Zhu Yu apparently eating a dead baby. According to Zhu, the corpse is from a miscarriage. In one of the photographs, he’s washing the body in a sink. Another photo shows him biting into a dismembered body part. Zhu has said that the pictures were taken during a perfor- mance titled »Eating Humans« in his house in Beijing. Yesterday, Zhu Yu claimed that as an artist, it’s his job to initiate debates over morality and art. His work involves exploring whether boundaries still exist. It does not, however, seem to bother anyone when this »artist« transgress- es these boundaries. Not even the guardians of the law — because de- spite the fact that artists using human body parts for their art can be sentenced to ten years in prison, nothing happened [...]. Tania Becker - 9783846763452 Downloaded from Brill.com09/28/2021 03:24:39AM via free access , After the images made the rounds in the Internet, the shocking act of consum- ing a fetus met with reactions worldwide.
    [Show full text]
  • The Problem of (Re)Creating
    JOURNAL OF ARCHITECTURE AND URBANISM ISSN 2029-7955 print / ISSN 2029-7947 online 2012 Volume 36(1): 73–81 doi:10.3846/20297955.2012.679789 THE SPIRIT OF THE PLACE – THE PROBLEM OF (RE)CREATING Jūratė Markevičienė Vilnius Academy of Fine Arts, Maironio g. 6, 01124 Vilnius, Lithuania E­mail: [email protected] Submitted 5 December 2011; accepted 8 February 2012 Abstract. The presented research focuses on sociocultural ability to (re)create spirit of a heritage site. The author defines a human habitat as a socio-cultural rhizome, and genius loci – as an intangible quality of a material site, perceived both physically and spiri- tually. Genius loci sites are identified as physical realities, and as mediators and media of societal interactions at the same time; they possess a distinguishable set of fundamental framework attributes: integrity, complementarity, continuity, a touch of eternity, non- evidence, being both a reality and an entity, and rhizomatousness. From this theoretical perspective the author defines conservation as an arboric, and sustenance of continuity – as a rhizomatic phenomenon, and makes a comparative identification of basic attributes, qualities, objectives, activities, and outcomes of the both systemic phenomena. The research resulted in two basic conclusions. First, that – though, due to on-going cultural shift in interactions with history, reconstructions gain in popularity – genius loci sites cannot be created or re-created intentionally, because they are happenings, and not creations. Second, that heritage conservation cannot substitute sustenance of traditional habitats, however, nowadays it plays an irreplaceable crucial role in safeguarding of tangible heritage, and this way becomes a cradle for emerging future cultural traditions.
    [Show full text]
  • Cultural and Spiritual Significance of Nature: Guidance for Protected and Conserved Area Governance and Management
    Cultural and spiritual significance of nature: Guidance for protected and conserved area governance and conserved area management Guidance for protected Cultural and spiritual significance of nature: Cultural and spiritual significance of nature Guidance for protected and conserved area governance and management Bas Verschuuren, Josep-Maria Mallarach, Edwin Bernbaum, Jeremy Spoon, Steve Brown, Radhika Borde, Jessica Brown, Mark Calamia, Nora Mitchell, Mark Infield, Emma Lee Craig Groves, Series Editor Developing capacity for a protected planet Best Practice Protected Areas Guidelines Series No. 32 international council on monuments and sites IUCN WCPA’s BEST PRACTICE PROTECTED AREA GUIDELINES SERIES IUCN-WCPA’s Best Practice Protected Area Guidelines are the world’s authoritative resource for protected area managers. Involving collaboration among specialist practitioners dedicated to supporting better implementation of ideas in the field, the Guidelines distil learning and advice drawn from across IUCN. Applied in the field, they build institutional and individual capacity to manage protected area systems effectively, equitably and sustainably, and to cope with the myriad of challenges faced in practice. The Guidelines also assist national governments, protected area agencies, non-governmental organisations, communities and private sector partners in meeting their commitments and goals, and especially the Convention on Biological Diversity’s Programme of Work on Protected Areas. A full set of guidelines is available at: www.iucn.org/pa_guidelines Complementary resources are available at: www.cbd.int/protected/tools/ Contribute to developing capacity for a Protected Planet at: www.protectedplanet.net/ IUCN PROTECTED AREA DEFINITION, MANAGEMENT CATEGORIES AND GOVERNANCE TYPES IUCN defines a protected area as: A clearly defined geographical space, recognised, dedicated and managed, through legal or other effective means, to achieve the long-term conservation of nature with associated ecosystem services and cultural values.
    [Show full text]
  • Review 2011 1 Research
    LONDON’S GLOBAL UNIVERSITY ReviewHighlights 2011 2011 Walking on Mars © Angeliki Kapoglou Over summer 2011, UCL Communications held a The winning entry was by Angeliki Kapoglou (UCL Space photography competition, open to all students, calling for & Climate Physics), who was selected to serve as a member images that demonstrated how UCL students contribute of an international crew on the Mars Desert Research Station, to society as global citizens. The term ‘education for global which simulates the Mars environment in the Utah desert. citizenship’ encapsulates all that UCL does to enable Researchers at the station work to develop key knowledge students to respond to the intellectual, social and personal needed to prepare for the human exploration of Mars. challenges that they will encounter throughout their future careers and lives. The runners-up and other images of UCL life can be seen at: www.flickr.com/uclnews Contents Research 2 Follow UCL news www.ucl.ac.uk Health 5 Insights: a fortnightly email summary Global 8 of news, comment and events: www.ucl.ac.uk/news/insights Teaching & Learning 11 Events calendar: Enterprise 14 www.events.ucl.ac.uk Highlights 2011 17 Twitter: @uclnews UCL Council White Paper 2011–2021 YouTube: UCLTV Community 21 In images: www.flickr.com/uclnews Finance & Investment 25 SoundCloud: Awards & Appointments 30 www.soundcloud.com/uclsound iTunes U: People 36 http://itunes.ucl.ac.uk Leadership 37 UCL – London’s Global University Our vision Our values • An outstanding institution, recognised as one of the world’s
    [Show full text]
  • Annual Review 2012–13
    UCL DEPARTMENT OF PHYSICS AND ASTRONOMY PHYSICS AND ASTRONOMY ANNUAL REVIEW 2012–13 Physics and Astronomy ANNUAL REVIEW 2012–13 Contents 2 WELCOME 3 COMMUNITY FOCUS 4 The Wow Factor is Back! 5 Teaching Lowdown 6 Student Accolades 7 Doctor of Philosophy (PhD) 8 Career Profiles 10 Science in Action 11 Alumni Matters 12 ACADEMIC SHOWCASE 13 Staff Accolades 14 Academic Appointments 15 Portrait of Dr Hiranya Peiris 16 RESEARCH SPOTLIGHT 17 High Energy Physics (HEP) 19 Astrophysics (Astro) 21 Condensed Matter and Materials Physics (CMMP) 24 Atomic, Molecular, Optical and Positron Physics (AMOPP) 27 Biological Physics (BioP) 28 Research Statistics 32 Staff Snapshot Cover image: Display of a collision event in the ATLAS detector, where a Higgs boson candidate decays to two Z bosons, each of which decays to a muon and an anti-muon (red lines). ATLAS Experiment © 2012 CERN Inside cover image: Components in the undergraduate teaching laboratory used to explore practical thermodynamics. Credit: Paul Woods (UCL). http://paulwoods.4ormat.com Image page 3: The newly refurbished undergraduate library. Credit: Paul Woods (UCL) Image page 12: The Physics Building. Credit: Paul Woods (UCL) Image page 16: A random collection of textures taken from high-resolution, supercomputer simulations. Red indicates a positive twist in the topological charge density and blue a negative twist. Credit: V. Travieso and N. Turok Review edited by Katherine Heyworth, [email protected] Design © UCL Creative Media Services 1 WELCOME Welcome Welcome to another annual review of the activities of the UCL Department of Physics & Astronomy. Inside you will find items focusing on research highlights, as well as features on selected staff, students and events over the past year.
    [Show full text]
  • Natural History: a Selection Free
    FREE NATURAL HISTORY: A SELECTION PDF Pliny The Elder,Gaius Plinius Secundus,John Healey | 448 pages | 03 Dec 1991 | Penguin Books Ltd | 9780140444131 | English | London, United Kingdom What is natural selection? | Natural History Museum The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See details for additional description. Skip to main content. About this product. Stock photo. Brand new: Lowest price The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. Will be clean, not soiled or stained. Books will be free of page markings. See all 7 brand new listings. Buy It Now. Add to cart. About this product Product Information Pliny's Natural History is an astonishingly ambitious work that ranges from astronomy to art and from geography to zoology. Mingling acute observation with often wild speculation, it offers a fascinating view of the world as it was understood in the first century AD, whether describing the danger of diving for sponges, the first water-clock, or the use of asses' milk to remove wrinkles. Pliny himself died Natural History: A Selection investigating the volcanic eruption that destroyed Pompeii in AD 79, and the natural curiosity that brought about his death is also very much evident in the Natural History -- a book that proved highly influential right up until the Renaissance and that his nephew, Pliny the younger, described 'as Natural History: A Selection of variety as nature itself'.
    [Show full text]
  • Urban Cultural Landscapes & the Spirit of Place
    ICOMOS QUEBEC 2008 Author/Presenter: Patricia M. O’Donnell, FASLA, AICP Title: Urban Cultural Landscapes & the Spirit of Place Filename: 77-hFCw-13.doc Topic: Preservation of the Spirit of Place Abstract: Valued villages, towns and cities are legible, multi-sensory vessels for spirit of place that combine tangible and intangible heritage. The cultural landscape of urban areas comprises about half of the space and contributes significantly to the character of the place. Since 2005, intensive discussions grappling with the meaning, character and values residing in the historic urban landscape (HUL) have resulted in the Vienna Memorandum and in resolutions from international meetings. The public and private urban cultural landscape expresses traditions and values and forms a record of ongoing interactions between people and place. These interactions and the values they embody yield both tangible and intangible heritage, residing in the HUL. When adequately understood as an integrated matrix of cultural landscape values, the tangible expressions of place and people and the intangible values residing in those places can be understood, preserved and managed as the unique spirit of place. This paper discusses the cultural landscape as a vessel of spirit of place, using examples of urban landscape spirit and values and suggests analysis and preservation tools that apply to the Historic Urban Landscape. The overriding point is that as heritage professionals we must clearly identify, analyze and be able to present the heritage values of a place so that managing for them is feasible and defensible. Introduction to Urban Cultural Landscapes & the Spirit of Place As a city traditionally developed, the landscape chosen for the site was incorporated into urban design and planning.
    [Show full text]