MORE THAN JUST SMOKE AND LIGHTS: THE ARCHITECTURE OF CONCERT STAGE DESIGN

Live music creates an environment that allows your mind to go silent, where all your senses are stimulated in perfect harmony. It’s a heightened sense of reality, a place to escape and be consumed in something that feels like your bones are being hugged. Architecture is what is used to make these ethereal moments a reality. Architecture plays a pivotal role in amplifying the overall experience for the audience and performer by creating an immersive spectacle, yet architects have frequently been left out of the conversation of concert stage design, which has led to underdeveloped immersive concerts. Concert design has now become an oversaturated field and an architect’s contributions have not yet been fully understood. By understanding how the skills of an architect can be utilized in concert design, elements such as space, scale, sightlines, functionality and aesthetics can transform arenas into engaging environments, and transcend the audience into new realms. To understand the role of an architect within this field of design, research was conducted to understand the last 100 years of performance history, the core materials and effects used in sets, the different types of stages, the expectation of the spectacle, and design logistics. With this research, I seek to contribute to the broader discourse on the fusion of architecture, live music, and emotion, by analyzing how different architectural elements such as stage shape and scale can evoke different emotions for the audience. The findings of this research are tested through the comprehensive design of three stages, each of which aims to emphasize specific emotional responses, and use different architectural elements that transform space to address said emotions. The stages are designed respectively around three songs composed and performed by the R & B artist Labrinth. Labrinth is a highly dynamic and versatile artist with a discography of music that includes a range of styles, tempos and emotions. Additionally, Labrinth has yet to go on a full arena scaled tour, allowing for an uninfluenced imagining of his performances. The first stage is designed for his song “Jealous”. “Jealous” is a slow and dreamy composition, therefore the corresponding stage uses lightweight architectural elements, including hanging, interactive fabrics that evoke an ethereal environment. The second stage is designed for the song “When I R.I.P.” which is a more rhythmic and high tempo song, so the corresponding stage design transitions into a profile stage with a grounded, heavy base and overhanging roof. This stage typology creates an intense and edgy environment due to its invasive protrusion into the audience, and added stark materiality. The final stage is for Labrinth’s song “Sexy MF” which is an upbeat, high energy song that inspires dancing and togetherness. The resulting stage design utilizes a large roof structure that encapsulates both Labrinth and the audience, effectively creating an interconnection within the space. These architectural contributions will envision new possibilities that push the boundaries of concert stage design past just smoke and lights, revolutionizing the way we experience live performances

Teaching and learning in virtual worlds: is it worth the effort?

Educators have been quick to spot the enormous potential afforded by virtual worlds for situated and authentic learning, practising tasks with potentially serious consequences in the real world and for bringing geographically dispersed faculty and students together in the same space (Gee, 2007; Johnson and Levine, 2008). Though this potential has largely been realised, it generally isn’t without cost in terms of lack of institutional buy-in, steep learning curves for all participants, and lack of a sound theoretical framework to support learning activities (Campbell, 2009; Cheal, 2007; Kluge & Riley, 2008). This symposium will explore the affordances and issues associated with teaching and learning in virtual worlds, all the time considering the question: is it worth the effort

Transforming pre-service teacher curriculum: observation through a TPACK lens

This paper will discuss an international online collaborative learning experience through the lens of the Technological Pedagogical Content Knowledge (TPACK) framework. The teacher knowledge required to effectively provide transformative learning experiences for 21st century learners in a digital world is complex, situated and changing. The discussion looks beyond the opportunity for knowledge development of content, pedagogy and technology as components of TPACK towards the interaction between those three components. Implications for practice are also discussed. In today’s technology infused classrooms it is within the realms of teacher educators, practising teaching and pre-service teachers explore and address effective practices using technology to enhance learning

Interactive instructional television (IITV) classroom system design: an application and cost comparative analysis.

This study identified conditions under which IITV might be an appropriate choice of technology for delivering instruction in the K-12 environment; presented an analysis of different IITV classroom system design applications and corresponding transmission systems; and provided estimates of the typical costs associated with the creation, as well as ongoing usage, of such systems. Three instruments, developed based on literature review and validated through expert review and external feedback, were used to collect data relevant to the research questions. Study participants consisted of the Superintendents and IITV Coordinators in three Manitoba school divisions which utilize IITV. The findings indicate that, first, IITV is chosen as an instructional technology primarily as a mechanism for ensuring that rural students receive the same educational opportunities as do their urban counterparts. A by-product of this is the assurance that rural school districts survive. Second, each IITV system design has its own set defining characteristics. However, underlying these unique attributes some common elements are found which are fundamental to the delivery of two-way audio and video interactive instructional television. Data analyzed in relation to a total of 81 design considerations revealed that of this total, 24 design considerations are common across all three designs, while 57 design considerations are uncommon. Third, costs to remodel a standard classroom into a basic IITV classroom system are minimal; and costs to remodel a standard classroom into intermediate and deluxe IITV classroom systems at approximately 3 1/2 times and 5 times, respectively, the cost required to remodel a standard classroom into a basic IITV classroom system. It costs 1 1/2 times as much to equip an intermediate IITV classroom system as it does to equip a basic IITV classroom system; and more than 2 times as much to equip a deluxe IITV classroom system as it does to equip a basic IITV classroom system. It costs almost 3 times as much to establish a multi-point transmission system for an intermediate IITV classroom system as it does to establish one for a basic IITV classroom system; and that establishing a leased fiber optic system costs approximately 1/6th of the cost to establish a multi-point transmission system for an intermediate system. However, the ongoing lease cost of fiber is 20 times that of the costs associated with the ongoing usage of microwave. Two limitations of this study were: it did not conduct a comparative analysis of the costs for specific services associated with microwave transmission system design, construction and installation and costing information was not obtained for a purchased fiber optic system

The phenomenal rise of periphonic record production: a practice-based, musicological investigation of periphonic recomposition and mix aesthetics for binaural reproduction

‘The Phenomenal Rise of Periphonic Record Production’ is a practice-based, musicological research project investigating the musicality of a non-front orientated approach to spatial music sound staging, posing the question ‘How can non-front orientated sound stages for music be approached and structured?’ The thesis argues that with integration of periphony (height and surround) there will be a requisite change in the way we actively listen to recorded music, facilitating new approaches to sound staging and record production. Further, in taking an ecological, embodied approach to production, a periphonic sound stage provides more creative agency than that offered through stereophonic or surround sound productions, and that without a visual informing the auditory perception the additional sonic dimensions may be enhanced beyond what current approaches to production can afford. The topics of study are explored through creative research practice and applied development of contemporary music production technique, drawing upon phenomenological method, and adopting practice as research and critical theory as research paradigms. The study constructs, collates and assesses spatial sound staging and production approaches for binaural encoded 3D audio arrangements and provides a framework for conceptualising and interpreting musical structure and lyrical narrative to spatial sonic schema using a non-front orientated approach to production. The techniques constructed within the scope of this project address key issues pertaining to periphonic sound staging and production, offering solution through a non-traditional, unique and democratic approach to spatial music production and creative research practice. The study collates primary research though practice and corroborates this data through focus group sessions that explore the perceived efficacy of the staging constructs and a non-front orientated approach to production. The work herein has been circulated through oral presentation at a variety of conferences, seminars and workshops over the last 6 years. Most recently, elements of Chapter 6 have been published and can be found in Chapter 13 of ‘Perspectives on Music Production – 3D Audio’ (Lord, 2021). The research presented in this thesis has also received citation in undergraduate, post-graduate and PhD level studies pertaining to spatial music production

Dislocations in sound design for 3-d films: sound design and the 3-d cinematic experience

Since the success of James Cameron’s Avatar (2009),1 the feature film industry has embraced 3-D feature film technology. With 3-D films now setting a new benchmark for contemporary cinemagoers, the primary focus is directed towards these new stunning visuals. Sound is often neglected until the final filmmaking process as the visuals are taking up much of the film budget. 3-D has changed the relationship between the imagery and the accompanying soundtrack, losing aspects of the cohesive union compared with 2-D film. Having designed sound effects on Australia’s first digital animated 3-D film, Legend of the Guardians: The Owls of Ga’Hoole (2010),2 and several internationally released 3-D films since, it became apparent to me that the visuals are evolving technologically and artistically at a rate far greater than the soundtrack. This is creating a dislocation between the image and the soundtrack. Although cinema sound technology companies are trialing and releasing new ‘immersive’ technologies, they are not necessarily addressing the spatial relationship between the images and soundtracks of 3-D digital films. Through first hand experience, I question many of the working methodologies currently employed within the production and creation of the soundtrack for 3-D films. There is limited documentation on sound design within the 3-D feature film context, and as such, there are no rules or standards associated with this new practice. Sound designers and film sound mixers are continuing to use previous 2-D work practices in cinema sound, with limited and cautious experimentation of spatial sound design for 3-D. Although emerging technologies are capable of providing a superior and ‘more immersive’ soundtrack than previous formats, this does not necessarily mean that they provide an ideal solution for 3-D film. Indeed the film industry and cinema managers are showing some resistance in adopting these technologies, despite the push from technology vendors. Through practice-led research, I propose to research and question the following:Does the contemporary soundtrack suit 3-D films? ; Has sound technology used in 2-D film changed with the introduction of 3-D film? If it has, is this technology an ideal solution, or are further technical developments needed to allow greater creativity and cohesiveness of 3-D film sound design? ; How might industry practices need to develop in order to accommodate the increased dimension and image depth of 3-D visuals? ; Does a language exist to describe spatial sound design in 3-D cinema? ; What is the audience awareness of emerging film technologies? And what does this mean for filmmakers and the cinema? ; Looking beyond contemporary cinema practices, is there an alternative approach to creating a soundtrack that better represents the accompanying 3-D imagery

Automated Transit Networks (ATN): A Review of the State of the Industry and Prospects for the Future, MTI Report 12-31

The concept of Automated Transit Networks (ATN) - in which fully automated vehicles on exclusive, grade-separated guideways provide on-demand, primarily non-stop, origin-to-destination service over an area network – has been around since the 1950s. However, only a few systems are in current operation around the world. ATN does not appear “on the radar” of urban planners, transit professionals, or policy makers when it comes to designing solutions for current transit problems in urban areas. This study explains ATN technology, setting it in the larger context of Automated Guideway Transit (AGT); looks at the current status of ATN suppliers, the status of the ATN industry, and the prospects of a U.S.-based ATN industry; summarizes and organizes proceedings from the seven Podcar City conferences that have been held since 2006; documents the U.S./Sweden Memorandum of Understanding on Sustainable Transport; discusses how ATN could expand the coverage of existing transit systems; explains the opportunities and challenges in planning and funding ATN systems and approaches for procuring ATN systems; and concludes with a summary of the existing challenges and opportunities for ATN technology. The study is intended to be an informative tool for planners, urban designers, and those involved in public policy, especially for urban transit, to provide a reference for history and background on ATN, and to use for policy development and research

Pockets of Promise: A Phenomenological Study of Experienced Special Education Teachers Working With Students With Emotional Disturbance in an Alternative Program

Abstract The purpose of this phenomenological study was to explore and understand, from the perspective of experienced Special Education Teachers, successful practices and barriers in meeting the needs of students with emotional disturbance (ED) in Special Education Alternative programs. The study aims to gain an in-depth understanding, from the lived experiences of special education teachers, the critical elements required for comprehensive instructional and social-emotional learning (SEL) supports and services in meeting the diverse needs of ED students. Additionally, this research was conducted to gain insight into the barriers and systematic challenges in fulfilling the school\u27s original intention of transitioning students to less restrictive educational settings once they are placed. Phenomenological interviews focused on the research questions revealed an expanded need for district level support, on-going professional development, and comprehensive Special Education Alternative program planning. Keywords: alternative program, disproportionality, marginalized, overrepresentation, student outcomes, segregated setting