Brass Art: A house within a house within a house within a house

Performances from Brass Art (Lewis, Mojsiewicz, Pettican), captured at the Freud Museum, London, using Kinect laser scanning and Processing, reveal an intimate response to spaces and technologies. ‘A house within a house within a house within a house’ links historical and cultural representations of the double, the unconscious and the uncanny to this artistic practice. The new moving-image and sonic works form part of a larger project to inhabit the writing rooms of influential authors, entitled ‘Shadow Worlds | Writers’ Rooms’

Folds in Time: Artists' Responses to the Temporal and the Uncanny. An international conference, convened by Brass Art in association with the Freud Museum London, as part of the Festival of the Unconscious 2015.

This conference brings together artists, curators and writers to examine the ways artists harness aspects of the uncanny and the unconscious in their navigation of physical and imagined spaces. Built around artists’ practices which have responded to the repressed, the unthought or the untold, and which employ fractured, dream-like or metamorphic narratives; the conference will mix keynote addresses with artist-in-conversations. Contributions from: Patricia Allmer , Rachel Anderson (Artangel), Brass Art, Rebecca Fortnum, Pavel Pyś , Alison Rowley , Lindsay Seers, Daniel Silver , Saskia Olde Wolbers, Rachel Withers. Keynote Lectures: Dr Alison Rowley 'Uncanny Returns and the Power of Laughter: Sarah Lucas at the Freud Museum' Dr Patricia Allmer 'Shadowdance - The Mobile Uncanny

Shadow Worlds | Writer’s Rooms: Freud’s House

This submission comprises an audio-visual installation created by Brass Art with composer Monty Adkins and programmer Spencer Roberts. The installation comprises a looping 4-minute film and uses footage captured via three Kinect scanners of staged ‘sojourns’ by Brass Art at 20 Maresfield Gardens, the house Sigmund Freud occupied during the last year of his life in London

Brass Art - Freud's figure - ground in motion: macabre, rare, banal, eerie and sentimental

Brass Art’s intervention into Freud’s house attempted to grant its solid objects, furniture and rooms a light, apparitional quality. Their performances at Maresfield Gardens were recorded with three Kinect sensors, the undifferentiated laser’s touch rendering all objects – alive, dead, static, breathing – with the same white, shining, pixellated brilliance. Objects and places that formed the props and settings for performances assume an intense luminosity, appearing to hover and tilt in a horizonless figure-ground. The interplay of focus, proximity and perception returns to consideration of the atemporal image. As artist Susan Hiller in her own observations of the Freud Museum states, ‘Close consideration of its beautiful, utilitarian, tedious, scholarly, macabre, rare, banal, eerie, and sentimental objects produces a picture in which figure-ground relationships seem to constantly shift’. This article introduces the new, multi-screen sonic work On the Thread of One Desire in development by Brass Art. It examines the way in which their recorded performances draw attention to the unconscious, the atemporal and the uncanny, and how the work foregrounds the loop, the arc and the full 360º revolution, with the intention of amplifying and revealing some of the unfolding narratives embedded in Freud’s London home

Folds in Time: Artists' Responses to the Temporal and the Uncanny.

An international conference, convened by Brass Art in association with the Freud Museum London, as part of the Festival of the Unconscious 2015. Yes, These Eyes are the Windows, (18 min HD 2015) was screened as part of the conference

MicroRNA-sequence profiling reveals novel osmoregulatory microRNA expression patterns in catadromous eel anguilla marmorata

MicroRNAs (miRNAs) are a class of endogenous small non-coding RNAs that regulate gene expression by post-transcriptional repression of mRNAs. Recently, several miRNAs have been confirmed to execute directly or indirectly osmoregulatory functions in fish via translational control. In order to clarify whether miRNAs play relevant roles in the osmoregulation of Anguilla marmorata, three sRNA libraries of A. marmorata during adjusting to three various salinities were sequenced by Illumina sRNA deep sequencing methods. Totally 11,339,168, 11,958,406 and 12,568,964 clear reads were obtained from 3 different libraries, respectively. Meanwhile, 34 conserved miRNAs and 613 novel miRNAs were identified using the sequence data. MiR-10b-5p, miR-181a, miR-26a-5p, miR-30d and miR-99a-5p were dominantly expressed in eels at three salinities. Totally 29 mature miRNAs were significantly up-regulated, while 72 mature miRNAs were significantly down-regulated in brackish water (10‰ salinity) compared with fresh water (0‰ salinity); 24 mature miRNAs were significantly up-regulated, while 54 mature miRNAs were significantly down-regulated in sea water (25‰ salinity) compared with fresh water. Similarly, 24 mature miRNAs were significantly up-regulated, while 45 mature miRNAs were significantly down-regulated in sea water compared with brackish water. The expression patterns of 12 dominantly expressed miRNAs were analyzed at different time points when the eels transferred from fresh water to brackish water or to sea water. These miRNAs showed differential expression patterns in eels at distinct salinities. Interestingly, miR-122, miR-140-3p and miR-10b-5p demonstrated osmoregulatory effects in certain salinities. In addition, the identification and characterization of differentially expressed miRNAs at different salinities can clarify the osmoregulatory roles of miRNAs, which will shed lights for future studies on osmoregulation in fish

Digital doubles

Replication of the self and engagement with liminal spaces has informed our collaborative practice. 3D body scanning, processing and digital printing proffered new methods of engagement as yet uncharted to capture ourselves faithfully. (http://www.brassart.org.uk) Test body scans suggested the potential to reveal public and private aspects of ‘the self’ – representing both the physiological and psychological aspects of a subject. Digitised Doubles was a practice led enquiry funded by the Arts and Humanities Research Council (UK). The aim of the investigation was to examine how artists might creatively engage with the possibilities afforded by advances in 3D scanning, 3D software applications and 3D rapid prototyping to achieve self-portrait exploring the poise and unique character of an individual subjec