Separation/Integration

This programme is built around David C Johnson’s 4-channel tape piece Telefun, realised in the WDR Studio for Electronic Music, Cologne. Gemini 8 is a new work by Sean Williams for Grey Area based on NASA's Gemini missions of the 1960s which paved the way for the Apollo missions to the moon. Gemini 8, piloted by Neil Armstrong, was the first manned space mission in which two spacecraft, launched an hour and a half apart, successfully docked with one another, although not without almost catastrophic problems and the forced aborting of the mission. This was the practical application of technology that was going on outside the studio whilst others were toiling away, crafting some of the finest electronic music made to date. Gemini 8 is a structured improvisation, so aside from this structure, equal creative input is given by each player. David C Johnson occupies a rare position in 20th Century music history, having worked with many composers and musicians from Lachenmann to avant rock band Can. From 1966-1970 he worked at the WDR Studios for Electronic Music in Cologne, assisting Karlheinz Stockhausen with the realisation of Hymnen and other works, and was one of the musicians who performed for 6 months in the West German pavilion of the 1970 World's Fair in Osaka. In 1970 during the World’s Fair in Osaka, Johnson, along with Rolf Gehlhaar and Johannes Fritsch separated from Stockhausen to set up the Feedback Studio out of which a wide range of innovative music practices and research flourished, including more open ideas about the role of the composer, especially in sound art and more cybernetic audio practices. Telefun was composed and realised during a break in the realisation of Hymnen when Stockhausen was in Tokyo creating Telemusik. The piece allows for a number of interruptions, the first of which will be: Toccatina by Helmut Lachenmann, performed by Emma Lloyd, is a short study for solo violin. The piece explores some of the more peculiar sounds in the violin’s timbral range, including notes played with the screw of the bow and sounds made by bowing the tail-piece, bridge, tuning pegs and scroll. Karlheinz Stockhausen’s Klavierstück XVI was written for piano or synthesizer as a scene from Friday from the Licht operas and is our second interruption to Johnson’s Telefun. Simon Smith plays his own realisation for synthesizer and is accompanied by the 4-channel tape version. PIANO PIECE XVI does not demand virtuosity, but rather, imagination and a sense of humour. It is up to the pianist to decide how many and which notes of the tape he (she) synchronously plays. At a given moment, there are many different possibilities. Our third interruption is a realisation of Yoko Ono’s 1963 Tape Piece III: Snow Piece: Take a tape of the sound of the snow falling. This should be done in the evening. Do not listen to the tape. Cut it and use it as strings to tie gifts with. Make a gift wrapper, if you wish, using the same process with a phonosheet. ©Copyright Yoko Ono 1964 I started trying to realise this piece in November 2010 but my tape machine got stuck in a lift overnight as I was moving it to get near a window. It didn’t snow again in the evening that winter. I had better luck the following winter where it snowed over a couple of days, and I was luckier with my tape machine that time. Although two private gifts have been given so far, this is the first public realisation of this piece. After the final part of Telefun, we’ll have an interval, and after that… Unlimited was written by Stockhausen in 1968 as part of the Aus den Sieben Tagen text pieces and was performed by the ensemble on various occasions. Separation from Mary Bauermeister triggered the crisis that was the backdrop for the composition of these text pieces. Questions of distributed creativity and the roles of interpretation and performance surrounding these text-based works contributed to the separation of Gehlhaar, Fritsch and Johnson from Stockhausen's ensemble to form the Feedback Studio in 1970. This piece can last for a very long time... Sean Williams, April 2014 Contributors: Simon Smith – synthesizer Grey Area: Nikki Moran - viola Emma Lloyd - violin Owen Green - bowed box Armin Sturm - double bass Shiori Usui - piano frame and voice Sean Williams - synthesizer and sound projectio

Single-shot layered reflectance separation using a polarized light field camera

We present a novel computational photography technique for single shot separation of diffuse/specular reflectance as well as novel angular domain separation of layered reflectance. Our solution consists of a two-way polarized light field (TPLF) camera which simultaneously captures two orthogonal states of polarization. A single photograph of a subject acquired with the TPLF camera under polarized illumination then enables standard separation of diffuse (depolarizing) and polarization preserving specular reflectance using light field sampling. We further demonstrate that the acquired data also enables novel angular separation of layered reflectance including separation of specular reflectance and single scattering in the polarization preserving component, and separation of shallow scattering from deep scattering in the depolarizing component. We apply our approach for efficient acquisition of facial reflectance including diffuse and specular normal maps, and novel separation of photometric normals into layered reflectance normals for layered facial renderings. We demonstrate our proposed single shot layered reflectance separation to be comparable to an existing multi-shot technique that relies on structured lighting while achieving separation results under a variety of illumination conditions

Separation anxiety in families with emerging adults

In several developmental theories separation anxiety has been identified as an important feature of close interpersonal relationships. Most often, separation anxiety has been examined in the context of mother-child dyads in infancy. Increasingly, however, it is recognized that separation anxiety is also relevant in other relationships (e.g., the father-child relationship) and in later developmental periods (e.g., adolescence and emerging adulthood). The present study aimed to investigate separation anxiety at the family level in families with emerging adults. By using the Social Relations Model, we aimed to determine the extent to which the actor, the partner, their specific relationships, and the family contribute to separation anxiety in dyadic family relationships. A total of 119 Belgian two-parent families with an emerging adult participated in a round-robin design, in which family members reported on their feelings of separation anxiety towards each other. Findings showed that separation anxiety can be represented as a personality attribute (i.e., an actor effect) and as a specific feature of the mother-child dyad. Further, findings indicate that separation anxiety is also characteristic of the father-mother marital relationship and of the family climate as a whole. Implications for the meaning of separation anxiety and clinical practice are discussed

Figure-Ground Separation

Air Force Office of Scientific Research (F49620-92-J-0499); Advanced Research Projects Agency (ONR N00014-92-J-4015); Office of Naval Research (N00014-91-J-4100

Separation simulator Patent

Electrical circuit selection device for simulating stage separation of flight vehicl

Acoustic particle separation

A method is described which uses acoustic energy to separate particles of different sizes, densities, or the like. The method includes applying acoustic energy resonant to a chamber containing a liquid of gaseous medium to set up a standing wave pattern that includes a force potential well wherein particles within the well are urged towards the center, or position of minimum force potential. A group of particles to be separated is placed in the chamber, while a non-acoustic force such as gravity is applied, so that the particles separate with the larger or denser particles moving away from the center of the well to a position near its edge and progressively smaller lighter particles moving progressively closer to the center of the well. Particles are removed from different positions within the well, so that particles are separated according to the positions they occupy in the well