20 Years of Real Life Publication: Free Instruments for Teenagers, Vinyl Album with Risograph booklet and poster

This Vinyl Album with Risograph booklet and poster launched at an live music event at Collective in December 2015 is the publication of the project. This is a project three years in development and implementation that incorporated a solo ‘retrospective ‘ exhibition at the City Dome, Collective Gallery in Edinburgh in 2014, as part of Generation, 25 Years of Contemporary Art in Scotland, with a subsequent 18 month project, initiated at the exhibition and funded by Creative Scotland, City of Edinburgh Council and the Generation Engagement Project, working with young people and the Gallery that resulted in the release of a collaborative record

Reactions of Sulphur Fluorides

The work of this thesis is concerned with the reactions of thionyl fluoride, thionyl tetrafluoride and its derivatives, and sulphuryl chloride fluoride. The reactions of thionyl fluoride have been little investigated, and usually involve forcing conditions. Many of the derivatives have been made before, but little is known of their spectroscopic properties. Particular interest was centred on the effect of attached substituents to sulphur on SO, in the derivatives of thionyl fluoride. The 1H n. m. r. of the compounds, R2NS(O)X (R = Me, Et, i-Pr; X = F, Cl, OR, NR2), have been investigated over the temperature range +150 to -110. The halosulphinamides, R2NS(O)X (R = Me, Et, i-Pr; X = F, Cl), show non-equivalence in the 1H n. m. r. spectrum at low temperature, and the alkoxysulphinamides, R2NS(O)OCH2CH3 (R = Me, Et), show evidence of AB coupling in the methylene signals of the ethoxy group. The possible effects which give rise to these phenomena are discussed. The reactions of thionyl tetrafluoride with silicon oxygen compounds have been investigated at length. Phenoxysulphur oxytri-fluoride, PhOS(O)F3, is obtained in good yield from the one to one reaction of SOF4 and Me3SiOPh. The compound, however, is unstable and decomposes on standing. The influence of substitution in the aromatic ring on the stability of the ArOS(O)F3 compounds (Ar = aryl), is discussed. Thus, m-FC6H4OS(O)F3 is very stable, and only partially decomposes on heating at 130. Higher substituted derivatives of thionyl tetrafluoride have been made, and the stability and spectro scopic properties of these compounds are discussed. The preparation of derivatives of the aryloxysulphur oxy-trifluorides in which single bond formation was maintained, did not meet with success. PhOS(O)F3 and Me3SiOEt react to form PnOSO2F, which is thought to be given via PhO(EtO)S(O)F2 as an intermediate. The derivatives, MeN=S(=O) (F)OAr (Ar = Ph, m-FC6H4), are obtained from (Me3Si)2 NMe and ArOS(O)F3 as stable compounds which are not air sensitive. Reactions of sulphuryl chloride fluoride involve preferential cleavage of the sulphur fluorine bond, although sulphur chlorine bonds are more labile. Factors which influence these reactions are discussed. Addition reactions across C=O and C=C bonds did not succeed with sulphuryl chloride fluoride, although other sulphuryl compounds are known to partake in such reactions

'Ross Sinclair: 20 Years of Real Life' PhD by Published work

The submission, Ross Sinclair: 20 Years of Real Life consists of seven publications discussed in a critical overview, with three supporting Appendices. Together they document and analyse the diverse outputs of my practice-led research project, Real Life, initiated in 1994. The critical overview argues for the innovative nature of the Real Life Project through its engagement with audiences and demonstrates its contribution to the field of contemporary art practice, across the disciplines of sculpture, painting, performance, installation, critical writing and music. Since the inception of my Real Life project I have explored the agency and impact of the artwork and exhibition in relation to audience exploring new methodologies and in June 2016 was awarded the Degree of Doctor of Philosophy by Published Work at GSA/GU titled, “20 Years of Real Life”. Here I set the project in critical overview around the philosophical paradigms of Barthes, Baudrillard and de Certeau viewed through a contemporary critical framework of Bourriaud, Bishop and Kester. I argue my project represents a unique and idiosyncratic contribution in its own right to these debates when viewed as a single longitudinal project, unique in recent art context. The impact, influence and contribution of this project is viewed in this submission through the prism of the 5 institutional monographic publications on my work as well as 2 contributions to refereed journals and 3 Appendices describing the project output and published writing, two of these appendices alone exceed 400 pages in length. I will continue to explore this project in the wake of the PhD undertaking further research. I have already had informal discussions with several staff with a view to mentoring/assistance/development of PhD's and am giving a Fine Art Research Seminar on the process of the PhD by Published work and I hope this will lead to more confidence and capability in the School of Fine Ar

Touch Me I’m Sick - Kunst blickt auf Krankheit

An exhibition about art and illness, that presciently was opened just as the Covid nightmare took hold of the world. In life, illness is a big topic, in art it is tricky terrain. Nevertheless, artists repeatedly dare to tackle this existentially complex paradigm. This exhibition brings together ten positions that tell of the encounter with illness in very different media - by means of photography, drawing, painting, video, sculpture and installation. In her essay On Being Ill, Virginia Woolf wrote that illness and pain are the opposite of language. The immediacy of the disease eludes language and is difficult to convey. Visual artists also have to struggle with similar difficulties. Even if art accommodates the variety of media that can be used today, it is always confronted with limits and questions. How close, how concrete can art come to illness? Can artistic statements aim at our emotions, appeal to our sympathy? And to what extent is it possible to link concrete experiences with a superordinate, universally valid and thus, to a certain extent, artistic level? Ten artists - each with their own medical history in mind - suggest different ways of dealing with the topic in these uncertain Covid times. The exhibition owes its title to Sinclair's T-shirt Painting work, touch Me I'm Sick. The sentence sounds like a cry for help, but not only generates pity, but frightens you in the same measure. Don't touch the sick. we could infect us. Illness is uncomfortable, annoying when it's not otherwise, one avoids it. At the center of Ross Sinclair's installation is a song. It is the story of a self-healing. Ross Sinclair starred as a wild punk at a young age, he also drunk many nights. At some point he realized that things couldn't go on like this anymore. The father of three children thought about a program of Alcoholics Anonymous. But people kept talking there From God. As a convinced atheist, he found this very difficult. the Solution came with the idea of replacing GOD with GUITARS. with he now bought himself with the money he used to spend on beer guitar to guitar. The wall high drawing is like the small ones, designed song lists scribbled on food slips, the bands on their use at concerts. But the cheat sheet is also one Memo list for all the things that are worth living for, his daughter Grace, the island of Orkney, where his father resides, etc

Real Life, 2014-2020

This output comprises eight performance-based site-specific artworks (2014-2019) that form the latest iteration of Ross Sinclair’s 25-year durational project, titled Real Life. The artist’s body features in every artwork, viewed from behind to reveal Sinclair’s ‘Real Life’ tattoo which, following a recent addition, now reads ‘Real Life is Dead.’ This gesture stages an intentional paradox; the artist’s physical presence is key, but by facing away from the audience, traditional and popular conceptions of the artist as elevated individual or as celebrity are rejected. The research facilitates critical dialogues between the artist, institutions and the public that question the role of art and its potential (non-object based) forms in gallery and museum spaces. Over a series of performance-installations, Sinclair stages interventions into art institutions that engage various political and social contexts - e.g. the 2014 Scottish Independence Referendum and the endurance of romantic/kitsch pastoral representations of Scotland - to interrogate the purpose of art and to question who it serves and how. Research outputs take the form of large-scale installations that stimulate audience participation, enabling new means and modes of engagement. The research contributes to the fields of socially engaged art practice and theory and institutional critique by proposing alternative forms of artwork e.g. as a gift economy, in the project 20 Years of Real Life – Free Instruments for Teenagers (Collective, Edinburgh 2014/15), where expertise, time and opportunities were gifted to a group of teenagers, alongside musical instruments

THE APPLICATION OF FOURIER ANALYSIS TO DEMONSTRATE THE IMPACT OF THE FLUTTER KICK ON LONGITUDINAL ROTATION IN FRONT CRAWL

The contribution of the flutter kick to front crawl performance from its influence on longitudinal body rotation has not been thoroughly investigated. Fourier analysis was used to examine the impact of the kick on segmental and whole body angular momentum about the body’s longitudinal axis in fourteen elite front crawl specialists swimming at sprint and 400m pace. The third harmonic frequency, representing the effects of the six-beat flutter kick, was greater at sprint than 400m pace in lower limb, upper limb, and whole body angular momentum. The presence of the third harmonic in upper limb and whole body angular momentum indicates that the flutter kick has an influence on longitudinal body rotation. The role of the flutter kick in front crawl performance may be linked to actions of the torso muscles to help control longitudinal body rotation

Public Engagement/Education Conference of Generation, 25 Years of Contemporary Art in Scotland, Generation Engagement Project: presenting "20 Years of Real Life, Free Instruments for Teenagers" at Collective, Edinburgh.

I presented 2 ambitious projects for Generation, "Real Life Rocky Mountain" at National Galleries of Scotland and "20 Years of Real Life, Free Instruments for Teenagers" at Collective Edinburgh, discussed in separate Radar Outputs. I was invited in this forum to discuss the latter project in terms of its engagement funding and socially engaged aspect to an invited audience from a broad spectrum of art professionals from Museums, Galleries,funding bodies, culture and politics. I was specifically asked to discuss, "Impacts on audiences - What has the project achieved so far? What have been the challenges? What have you learnt that you would like to pass onto other practitioners? What are you doing next with this learning? Engaging audiences - what would you like the future to look like?" Kate Gray, Director of Collective also spoke to discuss how the project was developed from the Galleries persecutive. "A key aim for GENERATION was to initiate a shift in the profile and accessibility of contemporary art across Scotland and to increase people’s appetite for, and confidence in, engaging with the ideas and art of our times. How did we do? This final development day of the series will consider what impacts we have had on our visiting audiences; how we can sustain the focus on youth engagement further, and what we might wish to see as the next national focus for the sector. It will be an opportunity to further explore conversations started in December on some of these issues as well as hear about the learning from GENERATION’S public engagement programme