Performance recordivity : studio music in a live context

A broad range of positions is articulated in the academic literature around the relationship between recordings and live performance. Auslander (2008) argues that “live performance ceased long ago to be the primary experience of popular music, with the result that most live performances of popular music now seek to replicate the music on the recording”. Elliott (1995) suggests that “hit songs are often conceived and produced as unambiguous and meticulously recorded performances that their originators often duplicate exactly in live performances”. Wurtzler (1992) argues that “as socially and historically produced, the categories of the live and the recorded are defined in a mutually exclusive relationship, in that the notion of the live is premised on the absence of recording and the defining fact of the recorded is the absence of the live”. Yet many artists perform in ways that fundamentally challenge such positions. Whilst it is common practice for musicians across many musical genres to compose and construct their musical works in the studio such that the recording is, in Auslander’s words, the ‘original performance’, the live version is not simply an attempt to replicate the recorded version. Indeed in some cases, such replication is impossible. There are well known historical examples. Queen, for example, never performed the a cappella sections of Bohemian Rhapsody because it they were too complex to perform live. A 1966 recording of the Beach Boys studio creation Good Vibrations shows them struggling through the song prior to its release. This paper argues that as technology develops, the lines between the recording studio and live performance change and become more blurred. New models for performance emerge. In a 2010 live performance given by Grammy Award winning artist Imogen Heap in New York, the artist undertakes a live, improvised construction of a piece as a performative act. She invites the audience to choose the key for the track and proceeds to layer up the various parts in front of the audience as a live performance act. Her recording process is thus revealed on stage in real time and she performs a process that what would have once been confined to the recording studio. So how do artists bring studio production processes into the live context? What aspects of studio production are now performable and what consistent models can be identified amongst the various approaches now seen? This paper will present an overview of approaches to performative realisations of studio produced tracks and will illuminate some emerging relationships between recorded music and performance across a range of contexts

“Ethical Minefields” and the Voice of Common Sense: A Discussion with Julian Savulescu

Theoretical ethics includes both metaethics (the meaning of moral terms) and normative ethics (ethical theories and principles). Practical ethics involves making decisions about every day real ethical problems, like decisions about euthanasia, what we should eat, climate change, treatment of animals, and how we should live. It utilizes ethical theories, like utilitarianism and Kantianism, and principles, but more broadly a process of reflective equilibrium and consistency to decide how to act and be

Molecular dynamics simulations of the interactions of potential foulant molecules and a reverse osmosis membrane

Reverse osmosis (RO) is increasingly one of the most common technologies for desalination worldwide. However, fouling of the membranes used in the RO process remains one of the main challenges. In order to better understand the molecular basis of fouling the interactions of a fully atomistic model of a polyamide membrane with three different foulant molecules, oxygen gas, glucose and phenol, are investigated using molecular dynamics simulations. In addition to unbiased simulations, umbrella sampling methods have been used to calculate the free energy profiles of the membrane-foulant interactions. The results show that each of the three foulants interacts with the membrane in a different manner.It is found that a build up of the two organic foulants, glucose and phenol, occurs at the membrane-saline solution, due to the favourable nature of the interaction in this region, and that the presence of these foulants reduces the rate of flow of water molecules over the membrane-solution interface. However, analysis of the hydrogen bonding shows that the origin of attraction of the foulant for the membrane differs. In the case of oxygen gas the simulations show that a build up of gas within the membrane is likely, although, no deterioration in the membrane performance was observed