Fortnight

Fortnight is a two-week long, fully immersive, experience based in the interactions and communications of daily life. Up to 200 participants sign up to receive messages that are sent to their mobile phones, email, and home address; these messages contain a series of poetic nudges that encourage those participating to question their sense of place. Participants also receive daily invitations to visit locations throughout their city where they can pause to reflect on what it means to be here now. Fortnight enables the experience of “theatre” to penetrate beneath a seemingly brittle aesthetic surface of performance, deep into the consciousnesses of our participants as they begin to interact with and perceive world around us as the performance itself; the place where we act out our own daily lives. In Fortnight, the spectator becomes participant; the journey becomes narrative. Fortnight therefore subverts the notion of an audience, in which each spectator’s perspective is forced to examine not the situation and setting of performers on a stage, but rather the situation and setting of our own sense of place and the meaning we apportion to our everyday lives. Fortnight uses various forms of ubiquitous technology such as: Radio Frequency Identification (aka, RFID tags of the type contained in key fobs), which are used in badges sent to each participant that allow them to interact with real-world “portals” to trigger certain effects in their surroundings; QR technology (in the form of barcodes on posters that reveal additional hidden messages, should the participant choose to delve further; SMS messages; email; and, Twitter. Alongside this, older modes of communication such as handwritten letters, give Fortnight a decidedly low-fi aesthetic. Throughout Fortnight, participants are encouraged to explore the creative possibilities of pervasive and communicative media without reverting to mere technological fetishism. In Fortnight, each mode of communication is used not only for its functionality but also as symbols that bind the project and the participant together, rooting them to the here and now with the everyday tools of modern society. The mediated messages within Fortnight lead participants down a living, breathing rabbit hole where the familiar becomes unfamiliar and reality distorts. The project becomes an experience for the participant that is as immersive as their own life; creating an alternative reality, that not only co-exists alongside their own everyday realities, but also merges with them.This is a performance with shared responsibilities, reflecting the actions and consequences of our daily lives: what we put in, we get out

Fortnight [Manchester]

Fortnight is a two-week long, fully immersive, experience based in the interactions and communications of daily life. Up to 200 participants sign up to receive messages that are sent to their mobile phones, email, and home address; these messages contain a series of poetic nudges that encourage those participating to question their sense of place. Participants also receive daily invitations to visit locations throughout their city where they can pause to reflect on what it means to be here now. Fortnight enables the experience of “theatre” to penetrate beneath a seemingly brittle aesthetic surface of performance, deep into the consciousnesses of our participants as they begin to interact with and perceive world around us as the performance itself; the place where we act out our own daily lives. In Fortnight, the spectator becomes participant; the journey becomes narrative. Fortnight therefore subverts the notion of an audience, in which each spectator’s perspective is forced to examine not the situation and setting of performers on a stage, but rather the situation and setting of our own sense of place and the meaning we apportion to our everyday lives. Fortnight uses various forms of ubiquitous technology such as: Radio Frequency Identification (aka, RFID tags of the type contained in key fobs), which are used in badges sent to each participant that allow them to interact with real-world “portals” to trigger certain effects in their surroundings; QR technology (in the form of barcodes on posters that reveal additional hidden messages, should the participant choose to delve further; SMS messages; email; and, Twitter. Alongside this, older modes of communication such as handwritten letters, give Fortnight a decidedly low-fi aesthetic. Throughout Fortnight, participants are encouraged to explore the creative possibilities of pervasive and communicative media without reverting to mere technological fetishism. In Fortnight, each mode of communication is used not only for its functionality but also as symbols that bind the project and the participant together, rooting them to the here and now with the everyday tools of modern society. The mediated messages within Fortnight lead participants down a living, breathing rabbit hole where the familiar becomes unfamiliar and reality distorts. The project becomes an experience for the participant that is as immersive as their own life; creating an alternative reality, that not only co-exists alongside their own everyday realities, but also merges with them.This is a performance with shared responsibilities, reflecting the actions and consequences of our daily lives: what we put in, we get out

Fortnight [Lancaster]

Fortnight is a two-week long, fully immersive, experience based in the interactions and communications of daily life. Up to 200 participants sign up to receive messages that are sent to their mobile phones, email, and home address; these messages contain a series of poetic nudges that encourage those participating to question their sense of place. Participants also receive daily invitations to visit locations throughout their city where they can pause to reflect on what it means to be here now. Fortnight enables the experience of “theatre” to penetrate beneath a seemingly brittle aesthetic surface of performance, deep into the consciousnesses of our participants as they begin to interact with and perceive world around us as the performance itself; the place where we act out our own daily lives. In Fortnight, the spectator becomes participant; the journey becomes narrative. Fortnight therefore subverts the notion of an audience, in which each spectator’s perspective is forced to examine not the situation and setting of performers on a stage, but rather the situation and setting of our own sense of place and the meaning we apportion to our everyday lives. Fortnight uses various forms of ubiquitous technology such as: Radio Frequency Identification (aka, RFID tags of the type contained in key fobs), which are used in badges sent to each participant that allow them to interact with real-world “portals” to trigger certain effects in their surroundings; QR technology (in the form of barcodes on posters that reveal additional hidden messages, should the participant choose to delve further; SMS messages; email; and, Twitter. Alongside this, older modes of communication such as handwritten letters, give Fortnight a decidedly low-fi aesthetic. Throughout Fortnight, participants are encouraged to explore the creative possibilities of pervasive and communicative media without reverting to mere technological fetishism. In Fortnight, each mode of communication is used not only for its functionality but also as symbols that bind the project and the participant together, rooting them to the here and now with the everyday tools of modern society. The mediated messages within Fortnight lead participants down a living, breathing rabbit hole where the familiar becomes unfamiliar and reality distorts. The project becomes an experience for the participant that is as immersive as their own life; creating an alternative reality, that not only co-exists alongside their own everyday realities, but also merges with them.This is a performance with shared responsibilities, reflecting the actions and consequences of our daily lives: what we put in, we get out

Fortnight [Bristol]

Fortnight is a two-week long, fully immersive, experience based in the interactions and communications of daily life. Up to 200 participants sign up to receive messages that are sent to their mobile phones, email, and home address; these messages contain a series of poetic nudges that encourage those participating to question their sense of place. Participants also receive daily invitations to visit locations throughout their city where they can pause to reflect on what it means to be here now. Fortnight enables the experience of “theatre” to penetrate beneath a seemingly brittle aesthetic surface of performance, deep into the consciousnesses of our participants as they begin to interact with and perceive world around us as the performance itself; the place where we act out our own daily lives. In Fortnight, the spectator becomes participant; the journey becomes narrative. Fortnight therefore subverts the notion of an audience, in which each spectator’s perspective is forced to examine not the situation and setting of performers on a stage, but rather the situation and setting of our own sense of place and the meaning we apportion to our everyday lives. Fortnight uses various forms of ubiquitous technology such as: Radio Frequency Identification (aka, RFID tags of the type contained in key fobs), which are used in badges sent to each participant that allow them to interact with real-world “portals” to trigger certain effects in their surroundings; QR technology (in the form of barcodes on posters that reveal additional hidden messages, should the participant choose to delve further; SMS messages; email; and, Twitter. Alongside this, older modes of communication such as handwritten letters, give Fortnight a decidedly low-fi aesthetic. Throughout Fortnight, participants are encouraged to explore the creative possibilities of pervasive and communicative media without reverting to mere technological fetishism. In Fortnight, each mode of communication is used not only for its functionality but also as symbols that bind the project and the participant together, rooting them to the here and now with the everyday tools of modern society. The mediated messages within Fortnight lead participants down a living, breathing rabbit hole where the familiar becomes unfamiliar and reality distorts. The project becomes an experience for the participant that is as immersive as their own life; creating an alternative reality, that not only co-exists alongside their own everyday realities, but also merges with them.This is a performance with shared responsibilities, reflecting the actions and consequences of our daily lives: what we put in, we get out

A chemical survey of exoplanets with ARIEL

Thousands of exoplanets have now been discovered with a huge range of masses, sizes and orbits: from rocky Earth-like planets to large gas giants grazing the surface of their host star. However, the essential nature of these exoplanets remains largely mysterious: there is no known, discernible pattern linking the presence, size, or orbital parameters of a planet to the nature of its parent star. We have little idea whether the chemistry of a planet is linked to its formation environment, or whether the type of host star drives the physics and chemistry of the planet’s birth, and evolution. ARIEL was conceived to observe a large number (~1000) of transiting planets for statistical understanding, including gas giants, Neptunes, super-Earths and Earth-size planets around a range of host star types using transit spectroscopy in the 1.25–7.8 μm spectral range and multiple narrow-band photometry in the optical. ARIEL will focus on warm and hot planets to take advantage of their well-mixed atmospheres which should show minimal condensation and sequestration of high-Z materials compared to their colder Solar System siblings. Said warm and hot atmospheres are expected to be more representative of the planetary bulk composition. Observations of these warm/hot exoplanets, and in particular of their elemental composition (especially C, O, N, S, Si), will allow the understanding of the early stages of planetary and atmospheric formation during the nebular phase and the following few million years. ARIEL will thus provide a representative picture of the chemical nature of the exoplanets and relate this directly to the type and chemical environment of the host star. ARIEL is designed as a dedicated survey mission for combined-light spectroscopy, capable of observing a large and well-defined planet sample within its 4-year mission lifetime. Transit, eclipse and phase-curve spectroscopy methods, whereby the signal from the star and planet are differentiated using knowledge of the planetary ephemerides, allow us to measure atmospheric signals from the planet at levels of 10–100 part per million (ppm) relative to the star and, given the bright nature of targets, also allows more sophisticated techniques, such as eclipse mapping, to give a deeper insight into the nature of the atmosphere. These types of observations require a stable payload and satellite platform with broad, instantaneous wavelength coverage to detect many molecular species, probe the thermal structure, identify clouds and monitor the stellar activity. The wavelength range proposed covers all the expected major atmospheric gases from e.g. H2O, CO2, CH4 NH3, HCN, H2S through to the more exotic metallic compounds, such as TiO, VO, and condensed species. Simulations of ARIEL performance in conducting exoplanet surveys have been performed – using conservative estimates of mission performance and a full model of all significant noise sources in the measurement – using a list of potential ARIEL targets that incorporates the latest available exoplanet statistics. The conclusion at the end of the Phase A study, is that ARIEL – in line with the stated mission objectives – will be able to observe about 1000 exoplanets depending on the details of the adopted survey strategy, thus confirming the feasibility of the main science objectives.Peer reviewedFinal Published versio

Enhanced Odor Discrimination and Impaired Olfactory Memory by Spatially Controlled Switch of AMPA Receptors

Genetic perturbations of α-amino-3-hydroxy-5-methyl-4-isoxazolepropionate receptors (AMPARs) are widely used to dissect molecular mechanisms of sensory coding, learning, and memory. In this study, we investigated the role of Ca(2+)-permeable AMPARs in olfactory behavior. AMPAR modification was obtained by depletion of the GluR-B subunit or expression of unedited GluR-B(Q), both leading to increased Ca(2+) permeability of AMPARs. Mice with this functional AMPAR switch, specifically in forebrain, showed enhanced olfactory discrimination and more rapid learning in a go/no-go operant conditioning task. Olfactory memory, however, was dramatically impaired. GluR-B depletion in forebrain was ectopically variable (“mosaic”) among individuals and strongly correlated with decreased olfactory memory in hippocampus and cortex. Accordingly, memory was rescued by transgenic GluR-B expression restricted to piriform cortex and hippocampus, while enhanced odor discrimination was independent of both GluR-B variability and transgenic GluR-B expression. Thus, correlated differences in behavior and levels of GluR-B expression allowed a mechanistic and spatial dissection of olfactory learning, discrimination, and memory capabilities

Enabling planetary science across light-years. Ariel Definition Study Report

Ariel, the Atmospheric Remote-sensing Infrared Exoplanet Large-survey, was adopted as the fourth medium-class mission in ESA's Cosmic Vision programme to be launched in 2029. During its 4-year mission, Ariel will study what exoplanets are made of, how they formed and how they evolve, by surveying a diverse sample of about 1000 extrasolar planets, simultaneously in visible and infrared wavelengths. It is the first mission dedicated to measuring the chemical composition and thermal structures of hundreds of transiting exoplanets, enabling planetary science far beyond the boundaries of the Solar System. The payload consists of an off-axis Cassegrain telescope (primary mirror 1100 mm x 730 mm ellipse) and two separate instruments (FGS and AIRS) covering simultaneously 0.5-7.8 micron spectral range. The satellite is best placed into an L2 orbit to maximise the thermal stability and the field of regard. The payload module is passively cooled via a series of V-Groove radiators; the detectors for the AIRS are the only items that require active cooling via an active Ne JT cooler. The Ariel payload is developed by a consortium of more than 50 institutes from 16 ESA countries, which include the UK, France, Italy, Belgium, Poland, Spain, Austria, Denmark, Ireland, Portugal, Czech Republic, Hungary, the Netherlands, Sweden, Norway, Estonia, and a NASA contribution

Reshaping spatiality : cognitive perception and the fracturing of theatrical space

Drawing on the tenets of cognitive science, particularly Lakoff and Johnson's writing on metaphor, this thesis investigates the ways in which perception is constructed spatially by focusing on contemporary artists' engagement with rehearsal processes and performances where technology asserts control over the boundaries of space, centring specifically on the author's own practice. This interrogation of theatricality includes three practical research projects (performances) and a three-chapter written thesis that explores the theoretical and practical concerns of artistic engagement with an understanding of space. This thesis explores the physicality of experience via cognitive science and positions it within the realm of the artist, addressing the ways in which material practitioners are always engaged in the experience of materiality. In both the written and practical components of this thesis, I interrogate and propose that space is perceived and constructed not only physically but also experientially. One of the key methodologies of this thesis is to locate, articulate and reflect upon the complex interaction between writing and practice: how material practice affects discourse and vice versa. Chapter One investigates heads pace, which is a feature of performance work that takes place largely in the head of an audience member, by using a set of techniques and technologies that subvert physical space - often including headphones worn by audience members. This chapter introduces many of the arguments of the larger thesis and establishes headspace as a viable term by reviewing the neurology of hearing and contemporary writing on sound reception, and through a dissection of four practical works, one of which was created by the author prior to this thesis: Whisper (Petralia, 2007), The Telephone Call (Cardiff, 2001), The Missing Voice (Cardiff, 1999) and Desire Paths (spell#7, 2004). Chapter Two concerns itself with aberrant pixel space, which, in the context of this project, is concerned with the internal architecture of the screen in relation to the external architecture of the stage in performance. Specifically, aberrant pixel space considers performances that use a cinematic and/or televisual frame that creates distinctions between what is in the shot, and what is not, uses the editing techniques of cinema/television, and plays with scale through its use of fragmented live performance and , perfect screen imagery. Aberrant pixel space is explored through the creation of a practice- as research performance work titled Virtuoso (working title) (petralia, 2009), which uses screens that form the boundaries of a space whose logic is defined by the properties of the television landscape. The work of Big Art Group and Gregory Crewdson are positioned alongside Virtuoso (working title) to understand the characteristics of spaces that can be understood via the extended metaphor of the pixel. Chapter Three focuses on telematic rehearsal space, which suggests that processes of artistic creation are not fixed to specific geographical locations but are in fact transitory, existing in the interchange between physical space and the space of communication. Chapter Three specifically considers the use of videoconferencing in rehearsal processes, using three performances including two new pieces created by the author in collaboration with Tiffany Mills Company: the dance- theatre works Tomorrow's Legs and Berries and Bulls, along with the work of other artists including Mabou Mines. The thesis concludes by interrogating the ways in which these three distinct spaces relate, reflecting on the ways in which space is contingent upon experience. Further, the conclusion discusses the ways that this thesis contributes to a new approach for understanding the making and witnessing process of live performance.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Here, there and in-between: rehearsing over Skype

The gathering of people together in a contiguous physical space in order to make something is the most basic description of my typical rehearsal process. My rehearsals have, until recently, always been dictated by the ability to gather a group of collaborators together at the same time and in the same geographical place. In this analogue version of rehearsal, tea breaks and side conversations have dictated as much about the process of creation as the work done in the centre of the space and physical presence has been an implied requirement of participation. Starting in 2007, I have been collaborating with the New York based dance company Tiffany Mills Company in the role of dramaturge and performance coach/director. Because I live and work in England, I am not able to be physically present in the New York dance studio on a regular basis. Instead, we have worked over SKYPE, an Internet-based telephone and videoconferencing programme. The physical space of the rehearsal room has been destabilised as a result of our trans-Atlantic collaboration: our process occurs in a space between my home in England and the dance studio in New York, in a space that contains images and sounds, which acts as both a portal between here and there and as a space in its own right. Johannes Birringer (2004: 172) has described the destabilisation of expected spatial relationships in relation to live performance as “telepresence”. He notes that in Here I come again/Flying Birdman (ADaPT, 2004), which had seven performance sites, seven performance ensembles and seven audiences all linked via multiple screens, that the collaborators were “separate but appear to be together in a shared virtual space of the Internet” (ibid). Birringer, and others, have mostly focused on the delivery of performance using the distribution networks made available by the Internet. In this article, I am concerned primarily with the way that collaborative technologies have shifted the landscape of the rehearsal room, and the rehearsal process itself, radically altering the synchronous way in which we participate in rehearsals