Something like an emergency

&lsquo;Something like an emergency&rsquo; is a collaborative project between Josephine Scicluna (words) and Tom Kazas (music). It was performed at &lsquo;The Hunger Artist: Food and the Arts&rsquo;, 2010 Double Dialogues conference in Toronto. This entry presents the performance text and exegetical responses from the writer and musician, providing both a theoretical context, in the philosophies of Gilles Deleuze and Gaston Bachelard, and a discussion of the improvisational basis of the project.The poem investigates the hunger of writing as a desire to break through impasses of language: in love and in the writer&rsquo;s translation of vision. The difficulties of ordering food in different languages and countries become a metaphor for breaking communication and the writer&rsquo;s (often frustrated) desire to deliver the right words onto her plate. From countless bowls of lentil soup (which were never vegetarian) on overnight bus trips in Turkey to Venice and Vegas Live on Birrarung Mar, this work forms a series of meditations on hunger - presenting the troubled body of the writer, troubled images of the body and conversations and places which have gone awry. <br /

Something like an emergency

&lsquo;Something like an emergency&rsquo;, a sonic poem recorded on CD, investigates the hunger of writing as a desire, not for a return of the dead, but for a breakthrough of impasses in language, both in love and in the writer&rsquo;s (frustrated) translation of vision. Proceeding from Bachelard&rsquo;s phenomenological observation that the poetic image puts language in a state of emergence, this work argues, instead, that poetry puts language in a state of emergency. Deleuze and Guattari&rsquo;s idea of music as a deterriorialization of the refrain; a rhythmic pattern which marks out a territory, is invoked in both the music performance and in the words. The writing uses a &lsquo;matting&rsquo; (rhizomatic) effect in its verse fragments which echo and refract others. Reverberation is also explored in the piano and its sonic processing which provides elements of dissonance and consonance, refracting dialogues in the text. Voice and music sometimes argue, sometimes agree, and sometimes are indistinguishable. However, this dialectic is further disturbed: at times the piano and voice seem to pay no attention to each other, taking off on their own &lsquo;lines of flight&rsquo;, in subversion of &lsquo;collaboration&rsquo;. In its use of recorded improvisational techniques this work also challenges the &lsquo;superiority&rsquo; of live improvisation. It was first performed at Double Dialogues conference, &lsquo;The Hunger Artist: Food and the Arts&rsquo;, Toronto, 2010. The text and accompanying discursive article form a book chapter in 2012 Food and Appetites: The Hunger Artist and the Arts, Ann McCulloch and Pavlina Radia(eds). It has been broadcast on RRR, 3CR radios and is released on CD and Youtube. By invitation it was performed at the Midsumma Festival, 2014.<br /

Under the forest and Ladyswamp ( a radio play and a sonic poem)

\u27Under the Forest\u27&nbsp; and \u27Ladyswamp\u27 are audio recordings created in collaboration with musician/ sound artist Tom Kazas. As the first outputs of the ongoing Lyrebird project (fully documented at writingfix.com.au) both works reinvent history in artistic form. At the same time they consider the aftermath of inappropriate farming techniques, representing the sense of disconnection the settlers immediately have from any historical continuity or indigenous relationship to land. In focussing on a regional area in Victoria and the stories that emerge from here, this practice-led research has implications for all other regional areas in countries throughout a world in a time of climate change. The two pieces, linked by the flow of water from the upper catchment of the Tarwin River, to the river flats near the South Gippsland coast, embody the presence of location via poetic means; the flow is from erosion to silt: of land becoming water, becoming land. In the sound design the locations are also represented poetically without losing the actuality of their haunting geography.The two audio works were first presented at the Double Dialogues Conference: \u27The 21st century - The Event, The Subject, The Artwork\u27, Fiji, 2012, and are published in In/Stead, Issue 4, 2013 alongside a discursive article, &lsquo;Under the forest &amp; Ladyswamp: a radio play &amp; a sonic poem&rsquo;. Extracts of the audio appear on Youtube. The process of &lsquo;Ladyswamp&rsquo; appears on an educational video currently in production by Deakin University.<br /

Strategies and performance of the CMS silicon tracker alignment during LHC Run 2

The strategies for and the performance of the CMS silicon tracking system alignment during the 2015–2018 data-taking period of the LHC are described. The alignment procedures during and after data taking are explained. Alignment scenarios are also derived for use in the simulation of the detector response. Systematic effects, related to intrinsic symmetries of the alignment task or to external constraints, are discussed and illustrated for different scenarios