ConversationPiece II: Displaced and Rehacked

Abstract: Conversations are amazing! Although we usually find the experience enjoyable and even relaxing, when one considers the difficulties of simultaneously generating sig- nals that convey an intended message while at the same time trying to understand the messages of another, then the pleasures of conversation may seem rather surprising. We manage to communicate with each other without knowing quite what will happen next. We quickly manufacture precisely timed sounds and gestures on the fly, which we exchange with each other without clashing—even managing to slip in some imita- tions as we go along! Yet usually meaning is all we really notice. In the Conversa- tionPiece project, we aim to transform conversations into musical sounds using neuro-inspired technology to expose the amazing world of sounds people create when talking with others. Sounds from a microphone are separated into different fre- quency bands by a computer-simulated “ear” (more precisely “basilar membrane”) and analyzed for tone onsets using a lateral-inhibition network, similar to some cor- tical neural networks. The detected events are used to generate musical notes played on a synthesizer either instantaneously or delayed. The first option allows for ex- changing timed sound events between two speakers with a speech-like structure, but without conveying (much) meaning. Delayed feedback further allows self-exploration of one’s own speech. We discuss the current setup (ConversationPiece version II), in- sights from first experiments, and options for future applications

Importance of Post-Translational Modifications for Functionality of a Chloroplast-Localized Carbonic Anhydrase (CAH1) in Arabidopsis thaliana

Background: The Arabidopsis CAH1 alpha-type carbonic anhydrase is one of the few plant proteins known to be targeted to the chloroplast through the secretory pathway. CAH1 is post-translationally modified at several residues by the attachment of N-glycans, resulting in a mature protein harbouring complex-type glycans. The reason of why trafficking through this non-canonical pathway is beneficial for certain chloroplast resident proteins is not yet known. Therefore, to elucidate the significance of glycosylation in trafficking and the effect of glycosylation on the stability and function of the protein, epitope-labelled wild type and mutated versions of CAH1 were expressed in plant cells. Methodology/Principal Findings: Transient expression of mutant CAH1 with disrupted glycosylation sites showed that the protein harbours four, or in certain cases five, N-glycans. While the wild type protein trafficked through the secretory pathway to the chloroplast, the non-glycosylated protein formed aggregates and associated with the ER chaperone BiP, indicating that glycosylation of CAH1 facilitates folding and ER-export. Using cysteine mutants we also assessed the role of disulphide bridge formation in the folding and stability of CAH1. We found that a disulphide bridge between cysteines at positions 27 and 191 in the mature protein was required for correct folding of the protein. Using a mass spectrometric approach we were able to measure the enzymatic activity of CAH1 protein. Under circumstances where protein N-glycosylation is blocked in vivo, the activity of CAH1 is completely inhibited. Conclusions/Significance: We show for the first time the importance of post-translational modifications such as N-glycosylation and intramolecular disulphide bridge formation in folding and trafficking of a protein from the secretory pathway to the chloroplast in higher plants. Requirements for these post-translational modifications for a fully functional native protein explain the need for an alternative route to the chloroplast.This work was supported by the Swedish Research Council (VR), the Kempe Foundations and Carl Tryggers Foundation to GS, and grant numbers BIO2006-08946 and BIO2009-11340 from the Spanish Ministerio de Ciencia e Innovación (MICINN) to A

Aggression, anxiety and vocalizations in animals: GABA A and 5-HT anxiolytics

A continuing challenge for preclinical research on anxiolytic drugs is to capture the affective dimension that characterizes anxiety and aggression, either in their adaptive forms or when they become of clinical concern. Experimental protocols for the preclinical study of anxiolytic drugs typically involve the suppression of conditioned or unconditioned social and exploratory behavior (e.g., punished drinking or social interactions) and demonstrate the reversal of this behavioral suppression by drugs acting on the benzodiazepine-GABA A complex. Less frequently, aversive events engender increases in conditioned or unconditioned behavior that are reversed by anxiolytic drugs (e.g., fear-potentiated startle). More recently, putative anxiolytics which target 5-HT receptor subtypes produced effects in these traditional protocols that often are not systematic and robust. We propose ethological studies of vocal expressions in rodents and primates during social confrontations, separation from social companions, or exposure to aversive environmental events as promising sources of information on the affective features of behavior. This approach focusses on vocal and other display behavior with clear functional validity and homology. Drugs with anxiolytic effects that act on the benzodiazepine-GABA A receptor complex and on 5-HT 1A receptors systematically and potently alter specific vocalizations in rodents and primates in a pharmacologically reversible manner; the specificity of these effects on vocalizations is evident due to the effectiveness of low doses that do not compromise other physiological and behavioral processes. Antagonists at the benzodiazepine receptor reverse the effects of full agonists on vocalizations, particularly when these occur in threatening, startling and distressing contexts. With the development of antagonists at 5-HT receptor subtypes, it can be anticipated that similar receptor-specificity can be established for the effects of 5-HT anxiolytics.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/46351/1/213_2005_Article_BF02245590.pd

Vection Builder: Artist Residency 2010-2012: The Roman Baths, Bath.

Vection-Builder used agent-environment interaction as an auto-generative composition system for audio visually demonstrating felt_space as a dynamic spectrum alive with three-dimensional effects polarised within a field of forces. Participation and improvisational reciprocal action was facilitated through an experimental capture and relay system that was natively adjustable and tuned to the site controlling the parameters of audio-visual mirroring/cueing paradigms in terms of calibrating the sensitivity and dynamic range of feedback genesis, evolution and rest. The form schema for Vection-builder consisted of three elements (i) participant interaction or affect agents, (ii) the xenomorphic space as causal field, and (iii) a co-operative system of audio-visual feedback loops for which a computer, prepared Microsoft Kinect sensor, eye tracking device and bio feedback system served as automatic attention capture device with real time sequencing and sampling, allowing direct forms of communication between the situated engagement and reverberating series of endogenous mirroring. The project involved live participation and technical support from PerceptionLab: Detmolder Schule für Architektur und Innenarchitektur, Germany, whose specialist knowledge in eye-tracking and biofeedback systems, enabled me to create the performative event as a medium to simultaneously receive, transmit and observe agent-environment interaction.Artist Residency 2010-2012: The Roman Baths, Bath

Space Interface

The mixture of technological and spatial practice developed a hybrid creative/systematic methodological process, using computer-generated simulated environments and performance. Coupled with new media platforms and collaborations with Eberhard Kranemann (co-founder Kraftwerk, Neu! Pissoff and Fritz Müller), evolved through iterative development at Weithorn Galerie Düsseldorf, Lichtturm Solingen, Germany, KARST, Plymouth and the Immersive Vision Theatre, Plymouth University. Space Interface was included at the Düsseldorf-Cologne Art Fair. Mischa Kuball (Professor of media art at the Academy of Media Arts Cologne) highlighted the innovation at the private view.Space Interface is an AV performance presented to an audience that embraces the problem of: 1) space-blindness, 2) buildings limited by unimaginative conventions and 3) rigid procurement laws. Iteratively developed over three years and five venues spanning Germany and UK, the research contributes to architectural design through the synthesis of situated cognition and new media interfaces. Host buildings are digitally re-configured to alter the perceived fixity of their space to rehearse new spatial realities through technical and temporal means. Disruptive AV cues are spatialised into dissonant mediascapes by pairing video, sound and performance to enhance the immersive transmission of affect that inverts architectural space from its previous function to reveal new potentials. The outcome is the video documentation forming an experiential archive for popularizing this new approach. The project constructs architectural interventions from a disruptive methodology to establish a dissonance between physical and virtual space which functions as a hyper-reality ‘stent’, warping the existing space into a different dimension. When the overlay reality is reversed, a spatial afterimage continues to exist to promote an immersive understanding on how to re-purpose existing environments into speculative architectures and under privileged forms of spatial experience. Eberhard Kranemann, co-founder of Kraftwerk was an invited contributor to the performances. Space Interface received funding from Arts Council England and Kulturförderung & Dinnebier Licht GmbH. Performed at Weithorn Galerie, Düsseldorf (2015), Lichtturm Solingen, NRW (2016), KARST gallery, Plymouth (2016) and The Atlantic Project, Plymouth (2018)

Mirror Blur

A soundscape composed as part of the Artists Rooms exhibition alongside the paintings of Gerhard Richter (in association with Plymouth City Museum and the TATE). The Mirror Blur amplifies the interface between the reflected image and the visionary dimensions of psychoactive space. Exploring the connections to non-ordinary realities

Signal Transduction

Dr Mathew Emmett and Eberhard Kranemann set upon promoting a dialogue between art, sound, theory and science to question the future identity of creativity within the wider framework offered by technological and theoretical innovation. Consequently, they explore the generation of an active space composed by forces of interactions between electronic sound, digital design, video and new media technologies in accordance to the creation of new, extended realities. Emmett & Kranemann explore the dimensions of immersion and the mediation of force as a three-dimensional environment to better express Emmett’s spatial theories. Lichtturm Solingen presents an opportunity to delve into the role of Emmett & Kranemann’s practice-led research where a newly constructed film with live music and performance will accompany Emmett’s talk “Pulsating Hennig Brand’s Condensate”.Mathew Emmett & Eberhard Kranemann live performance at Lichtturm Solingen, Germany. Commissioned by Dinnebier Licht, March 2016. Video sound art performance, inspired by the alchemist Hennig Brand’s discovery of phosphorus (cold fire) in 1669

Open State

The project included choreography by the pioneer of integrative practice Adam Benjamin and Japanese Integrated Dance Company-Kyo was funded by Art and Culture Promotion Fund, Arts Council Tokyo & Great Britain Sasakawa Foundation, gave acoustic definition to non-verbal sound using algorithmic form.Research conducted on computer-mediated composition to uncover opportunities for digital applications to improve soundscape-choreographic connectedness across transnational dance networks. Questions sought to extend awareness in Japan’s culture of disability through dance. Compositional technologies were utilised and developed using speech synthesis, HCI and multidimensional scaling. An acoustically synthesised program was designed to develop the potential of sound interaction and spatial coordination in dance. This involved an original cross-disciplinary methodology between different fields including spatial awareness, audio and science. Vocal sounds made by the disabled Japanese dancers were translated into numerical data language with the outcome of designing a new synthesised soundscape