The Harold C. Ernst Collection of Portable Sundials

A catalog of sundials from the Harold C. Ernst Collection of Portable Sundials, and a handy reference book on the subject of portable sundials. The sundial is the most ancient scientific instrument to come down to us unchanged. As such it is deserving of a better position in life than that of an ornament. It has played a vital part in the life of man for many thousands of years, and even today it serves us well where the mechanical watch fails. The authors particularly draw attention to the system of classifying, labeling, and cataloging sundials, described in Chapter II. This is the first attempt to bring order out of confusion in sundials

Indefatigable

17 short moments for piano and electronics. Inspired by the practice of ink painting, this gestural piano piece explores angular piano writing, combined with sound recordings of ink painting

Linear kinematic air bearing

Bearing provides continuous, smooth movement of the cat's-eye mirror, eliminating wear and deterioration of bearing surface and resulting oscillation effects in servo system. Design features self-aligning configuration; single-point, pivotal pad mounting, having air passage through it; and design of pads that allows for precise control of discharge path of air from pads

Frictionless universal joint Patent

Universal joints for connecting two displaced shafts or member

Te Ruru Light festival 2019 - Direction/Curation

This free community event includes interactive light installations, immersive performances, building projections, a dedicated kids' zone, and much more

To Sleep

Score for structured improvisation. Created by Jeremy Mayall. Brought to life in performance in collaboration with Kent Macpherson and Yotam Levy. TO SLEEP is the second longest continuous piece of music to ever be performed anywhere (after Organ²/ASLSP (As SLow aS Possible by John Cage which is scheduled to last 639 years!). TO SLEEP is an experiment. It is an exploration of music’s capacity to induce meditative, otherworldly and perhaps even psychedelic states, through the process of a communal nights sleep. Drawing primary inspiration from reading about the ambient ‘happenings’ of Robert Rich in California in the 1980s - these were immersive all-night shows, performed to sleeping audiences, that stretched the definition of a ‘concert’ beyond all familiar limits. These much-mythologised happenings are part physical experience, part community intervention, part scientific experiment, part mystic ritual. Macpherson and Mayall, along with cellist Yotam Levy will perform a synthesis of found sound, prepared drones, and live instrumental playing. The focus of the event is around everything being very slow. Anything resembling a melody might unfold over a half an hour or so. The concentration is really one of subtlety, slowness, extremely drawn out transitions, and exploring an unfolding sense of continuity. The intention with TO SLEEP is to explore the liminal zone between sleep and wakefulness. Creating a space where the audience can guide themselves into a state of half-sleep and notice the way that their brains shift perceptions into an internal world. Through deconstructing the conventions of traditional compositional and performative approaches, TO SLEEP will explore the potential for dreamlike experiences between the hypnagogic and hypnopompic states - the technical words for when you’re going into sleep and out of sleep. This is a 9 hour long form musical composition within which different ideas, textures, fragments, themes and variations will be woven in what essentially becomes an endurance performance event! The performers work hard to make the audience feel relaxed, and allow themselves to become part of the immersive multimedia journey. Mayall has composed a structural guide to shape the 9hour composition as built and developed by the performers

FILM, ARCHIVE AND MUSIC LAB

Invited to be one of 16 international participants in FAMLAB. Information about the workshop/lab: The British Council presents Film, Archive and Music Lab: a week of screenings, live performance and collaboration between film and music professionals in partnership with the British Film Institute, PRS for Music Foundation and HOME in Manchester. The week will begin on 29th February 2016. Film, Archive and Music Lab will explore the creative potential of collaboration between the worlds of cinema, film archive and music. The British Council has invited 16 artists and producers – including music makers, film makers and video game composers – to take part in a series of workshops, masterclasses, screenings and networking events all with the aim of increasing opportunities for cross-sector work, while providing a fertile breeding ground for future collaborations. The programme is inspired by the creative and popular success of event cinema and live performances of film scores, including the BFI Archive’s international tour, "The Hitchock 9". We’re bringing together an exciting group of participants from East Asia and the UK as part of this opportunity for professional development and they are: Lisa Meyer, William Doyle (East India Youth), Masaaki Yoshida (Anchorsong), Ruth Paxton, Jessica Curry, Roly Porter, Shiva Feshareki, Nick Abrahams, Jay Bedwani, Owen Wang, Aoura Chandra, Nguyen Manh Duy Linh, Fikri Fadzil, Jeremy Mayall, Chunhwi Park and Thanapol Setabrahmana. PRS for Music Foundation has helped to fund and select the UK based music creators who are taking part in the Lab

A nauseous lament

A short piece of conceptual performance art. The score is self explanatory. CONTEXTUAL BACKGROUND FOR THE WORK: Performance art has a long and established tradition - drawing back to artists like Yoko Ono, Nam June Paik, and even some of the work of John Cage. It may be either scored or improvised; spontaneous or otherwise carefully planned; and both the performer and audience can be present or absent - it sets up a conceptual framework that allows it to exist without being specifically realised. It can be any situation that involves four basic elements: time, space, presence in a medium, and a relationship between performer and audience. "Indeed, at its worst, performance art can seem gratuitous, boring or just plain weird. But, at its best, it taps into our most basic shared instincts: our physical and psychological needs for food, shelter, sex, and human interaction; our individual fears and self-consciousness; our concerns about life, the future, and the world we live in. It often forces us to think about issues in a way that can be disturbing and uncomfortable, but it can also make us laugh by calling attention to the absurdities in life and the idiosyncrasies of human behavior." - The Khan Academy PUBLISHED ONLINE. SHARED MULTIPLE TIMES THROUGH DIFFERENT OUTLETS

Primitive erythropoiesis in early chick embryogenesis. II. Correlation between hemoglobin synthesis and the mitotic history.

Primitive erythroblasts in the circulating blood of the chick embryo continue to divide while synthesizing hemoglobin (Hb). Hb measurements on successive generations of erythroblasts show that there is a progressive increase in the Hb content of both interphase and metaphase cells. Furthermore, for any given embryo the Hb content of metaphase cells is always significantly greater than that of interphase cells. The distribution of Hb values for metaphase cells suggests that there are six Hb classes corresponding to the number of cell cycles in the proliferative phase. The location of erythroblasts in the cell cycle was determined by combining Feulgen cytophotometry with thymidine radioautography on the same cells. Measurements of the Hb content for erythroblasts in different compartments of the cell cycle (G1, S, G2, and M) show a progressive increase through the cycle. Thus, the amount of Hb per cell is a function of the number of cell divisions since the initiation of Hb synthesis and, to a lesser degree, the stage of the cell cycle. Earlier generations of erythroblasts synthesize Hb at a faster rate than the terminal generation. Several models have been proposed to explain these findings