Saddam Hussein is “dangerous to the extreme”: The ethics of professional commentary on public figures

People are intrinsically interested in the personalities of public figures such as the celebrities they follow, political leaders, and citizens at the center of newsworthy events. The goal of the present article is to examine the key issues that surround ethical commentary on public figures by psychologists, psychiatrists, and other mental health professionals. Public commentaries carry with them a host of issues from representing a given discipline such as psychology well, to potentially harming an individual who is discussed, to furthering public education about personality and mental health issues. For this reason such commentary deserves special consideration as to when and how it is appropriate to carry out

Towards 3-D Sound: Spatial Presence and the Space Vacuum

This chapter demonstrates the evolution of relationships between sound design and music in cinematic representations of the interstellar space vacuum. Mera provides a framework for understanding how audiences believe they are physically present in the represented environment and argues that, in the late 2000s, we move towards three-dimensional (3-D) sound, an aesthetic and technical extension of the superfield and the ultrafield as defined by Chion and Kerins, respectively. 3-D Sound’s primary characteristic is the emancipation of music from a fixed sound-stage spatialization, resulting in greater fluidity between sound design and music. This chapter examines the relationship between two types of spatial presence, articulating both the audience’s suspension of disbelief within a film’s narrative world and the spatial presence of sound and music within a multichannel cinema environme

A Break In the Chain: A Look at Communication Between Resident Advisors the Resident Life Employees Above Them.

Through past experiences and observations of resident advisors (RAs), resident directors (RDs), and the administrative staff of the Residential Life Department, I have noticed a break in the communication between RAs and Housing Administration. The organization of Residential Life is very similar to that of many large departments: employees are hierarchically organized and policy is set in a hierarchical fashion as well. Policies that affect residents are made by administrators (starting with a director) and implemented by the resident advisors. This is where communication appears to be absent. While information is quick to travel from the ???top-down,??? there is very little opportunity for the resident advisors to give feedback as to how the reality of the situation is playing out on the hall floors. This break in communication appears to be a stressor and source of frustration for many RAs who are working with the residents on a daily basis and see nothing of the administration.unpublishe

Spotlight on Community Filmmaking: A report on Community Filmmaking and Cultural Diversity research

The ‘Community filmmaking and cultural diversity' project explores how cultural diversity intersects with community filmmaking. It considers the results of this intersection in terms of representations and identities as well as practices and innovation.The project is supported by the Arts & Humanities Research Council (AHRC) as part of the Connected Communities Programme

Immersed in Pop! Excursions into Compositional Design

Recent changes in consumer audio and music technology and distribution - for example the addition of 3D audio formats such as Dolby Atmos to music streaming services, the recent release of “Spatial Audio” on Apple and Beats products, the proliferation of musical content in virtual reality and 360º videos, etc. - have reignited a public discourse on concepts of immersion and interactivity in popular music and media. This raises questions and necessitates a deepening of popular musicological discourse in these areas. This thesis thus asks: what is the relationship between so-called immersive media and immersive experience? How are immersive and interactive experiences of audiovisual popular music compositionally designed? And to what degree do interpretations of immersion and interactivity in popular music imply agency on part of the listener/viewer? To address these questions, Bresler has authored or co-authored four articles and book chapters on music in immersive and interactive media with a focus on compositional design and immersion in pop music. In the framing chapter, these articles are contextualized through the coining of the term immersive staging, which is a framework for understanding how the perceived relationship between the performer and listener is mediated through technology, performativity, audiovisual compositional design, and aesthetics. Additionally, the chapter makes a case for the hermeneutic methodologies employed throughout.publishedVersio

Off the Grid

Off the Grid explores the messy relationship between public and private perceptions of our urban spaces, especially the tensions created when lived experience runs up against the physical and conceptual networks of cities: street grids, construction tape, and property lines. Incorporating different modes of spatial representation, from cartographic diagrams to isometric illustrations and Renaissance perspectives, this exhibition examines the role drawing plays in how we conceptualize the divisions and definitions of everyday space. The drawings engage the often overlooked detritus of city life, from layers of old graffiti to overgrown dirt piles and unmoored electrical wiring, that complicate our understanding of how urban space is actually used. Drawn from the spaces surrounding the artist’s daily routine, Off the Grid investigates the potential of a subjective cartography to tell a more complete story about the places we inhabit

Researching Across Two Cultures: Shifting Positionality

Embodied and creative research methods provoke honesty, emotion, and vulnerability in participants, which add to the richness of the stories they tell and are willing to share. The positionality of the researcher is less of “interviewer” and more “co-producer” or participant in a dialogue. Visual and creative approaches invite participants to share in ways in which they are not able or willing through words alone. The data and outputs they produce, with film, art, or objects, can in turn affect those who see it more than written text and need to be analysed and disseminated along with more traditional transcripts, articles, and presentations. In the context of investigating sensitive issues such as those around embodied identity, these methods, which use embodied methods to explore embodied research questions, may feel the most appropriate. These approaches lie along the boundary of therapy and research, asking much of researchers who are unlikely to have received therapeutic training or ongoing support. Due to this deficit, the researched may find that their experience is not held or contained in a way that the content would demand. Similarly, the data themselves lie on the boundary of art and research, in that they can be seen as more than a tool to facilitate reflection, but as artifacts in their own right. What are the implications in this scenario? Where should we position ourselves and our work along these boundaries? Who holds the space for the researcher and the researched if both are made vulnerable

Planar Refrains

My practice explores phenomenal poetic truths that exist in fissures between the sensual and physical qualities of material constructs. Magnifying this confounding interspace, my work activates specific instruments within mutable, relational systems of installation, movement, and documentation. The tools I fabricate function within variable orientations and are implemented as both physical barriers and thresholds into alternate, virtual domains. Intersecting fragments of sound and moving image build a nexus of superimposed spatialities, while material constructions are enveloped in ephemeral intensities. Within this compounded environment, both mind and body are charged as active sites through which durational, contemplative experiences can pass. Reverberation, the ghostly refrain of a sound calling back to our ears from a distant plane, can intensify our emotional experience of place. My project Planar Refrains utilizes four electro-mechanical reverb plates, analog audio filters designed to simulate expansive acoustic arenas. Historically these devices have provided emotive voicings to popular studio recordings, dislocating the performer from the commercial studio and into a simulated reverberant territory of mythic proportions. The material resonance of steel is used to filter a recorded signal, shaping the sound of a human performance into something more transformative, a sound embodying otherworldly dynamics. In subverting the designed utility of reverb plates, I am exploring their value as active surfaces extending across different spatial realities. The background of ephemeral sonic residue is collapsed into the foreground, a filter becomes sculpture, and this sculpture becomes an instrument in an evolving soundscape