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kylebarnnes · 7 months ago

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The Art of Influence of Design Agency

The Art of Influence Design Agency specialises in crafting compelling visual narratives that captivate audiences and drive meaningful engagement. With a keen eye for aesthetics and a deep understanding of human psychology, we blend creativity with strategy to deliver impactful design solutions. From branding and marketing collateral to digital experiences and environmental graphics, our agency empowers brands to connect with their audience on a profound level, inspiring action and fostering lasting relationships.

Introduction to Design Agency

A design agency serves as a creative hub where talented professionals collaborate to conceptualise, develop, and execute visual solutions for a diverse range of clients. These agencies harness the power of design to communicate messages, evoke emotions, and solve problems across various mediums and platforms. From branding and graphic design to web development and user experience (UX) design, a design agency offers a comprehensive suite of services aimed at elevating the visual identity and user experience of brands and organisations.

Expertise and Specializations of Design Agency

Design agencies often specialise in specific areas of design, allowing them to offer in-depth expertise and tailored solutions to their clients. Some agencies focus on branding and identity design, helping clients establish and differentiate their brand through logos, color palettes, and visual elements. Others specialise in graphic design, producing marketing materials, print collateral, and digital assets that communicate a brand's message effectively. Additionally, agencies may specialise in web design and development, creating intuitive and visually striking websites that enhance user engagement and conversion rates.

Creative Process and Methodology of Design Agency

At the heart of every design agency is a creative process that guides the development of innovative and impactful solutions. This process typically involves research, ideation, prototyping, iteration, and implementation, allowing designers to explore different concepts and refine their ideas based on client feedback and project requirements. By employing a systematic approach to creativity, design agencies ensure that their work is not only visually appealing but also strategically aligned with the client's objectives and target audience.

Collaborative Approach and Client Engagement of Design Agency

Design agencies prioritise collaboration and communication throughout the design process, fostering strong relationships with their clients and stakeholders. From initial consultations and project briefings to regular check-ins and presentations, agencies involve clients at every stage of the project, soliciting feedback and incorporating their input to ensure satisfaction and alignment. This collaborative approach promotes transparency, trust, and mutual respect, leading to successful outcomes and long-term partnerships.

Portfolio and Case Studies of Design Agency

A design agency's portfolio showcases its past work and accomplishments, providing prospective clients with insight into its capabilities, style, and expertise. By highlighting successful projects and case studies, agencies demonstrate their ability to deliver results and solve real-world design challenges for a diverse range of clients. A well-curated portfolio not only serves as a testament to the agency's skills and creativity but also inspires confidence and trust in its capabilities.

Industry Recognition and Awards of Design Agency

Many design agencies receive recognition and accolades for their exceptional work and contributions to the design community. Awards and accolades from reputable organizations and industry associations validate an agency's talent, professionalism, and commitment to excellence. Clients often seek out award-winning agencies for their projects, knowing that they can expect high-quality design solutions that meet and exceed their expectations.

Continuous Learning and Innovation of Design Agency

In a constantly evolving industry, design agencies prioritise continuous learning and innovation to stay ahead of the curve and deliver cutting-edge solutions. Whether through attending conferences, participating in workshops, or investing in new technologies, agencies are committed to pushing the boundaries of design and exploring emerging trends and techniques. By embracing innovation and experimentation, design agencies ensure that they remain relevant and competitive in today's dynamic marketplace.

Conclusion

In the dynamic landscape of modern business, the role of a design agency transcends mere aesthetics; it becomes a catalyst for transformation, a conduit for connection, and a driver of influence. Through the artistry of design, these agencies craft immersive experiences that resonate with audiences on a profound level, inspiring action, fostering loyalty, and ultimately, driving meaningful impact for brands and organisations. With creativity as their compass and innovation as their guide, design agencies continue to shape the narrative of tomorrow, elevating brands and empowering them to leave an indelible mark on the world.

#design agency

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angeliqueshelleyartist · 11 months ago

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Critical Analysis

THON, J. N. (2019). ‘Transmedia Characters: Theory and Analysis’. Frontiers of Narrative Studies. Volume 5. (Issue 2). pp.169-175. [Online]. Available at: https://www.degruyter.com/document/doi/10.1515/fns-2019-0012/html [Accessed: 27 October 2023].

Transmedia characters are those that appear as the same character but across different media platforms such as comics, film, TV and games. These form a network of ways that the individual characters are represented. By exploring how characters are represented in these forms of media and analysing their connections, author Jan-Noel Thon highlights the intricate ways that characters are both depicted by creators and perceived by audiences. Understanding this is valuable to character concept artists as it gives a deeper understanding as to how characters they design can be as cohesive as possible when seen on different platforms, yet remain open for modification as required by them.

This analysis focuses on the section titled Conceptualising Characters in Thon’s article: Transmedia Characters: Theory and Analysis. This analysis will aim to assess the level of trust that this text could have, if there are well balanced or considered debates, references backing up points, clarity of language and consideration on how this text can be of importance to concept artists.

Jan-Noel Thon is a professor and chair of Media studies and Media Education at the Department of German Studies of Osnabruck University, Germany. At the time of writing this article on Transmedia he held a comparable role at the Norwegian University of Science and Technology in Trondheim, Norway. He has ten published books (as either author or editor) and a further fifty two credits for journals or book chapters spanning back to 2006 relating to Media.

Thon begins with an elaboration on Eder’s observation summarising how the situation around characters is complicated by them not only being transmedial, but also transmedial phenomena, meaning that characters can exist seamlessly across different media platforms but can also evolve as they do so. Because this notion could challenge the way that characters are usually analysed, Thon supports it with a balanced argument. He says that on one hand, media research not centred on characters may still be valuable for character analysis but on the other hand, there is an importance to the research into characters existing in different media forms and how they are represented there. He supports his argument with no less than three academic sources.

This well referenced and balanced debate allows the reader to explore multiple points of view before coming to a conclusion themselves. The language used is highly academic in terms of how concise and precise the choice of words are in order to convey points efficiency. For example in the quote “necessitating not only general transmedial but also medium-specific theoretical perspectives”, the tone is formal and Thon shows an ability to create emphasis in areas without writing emotionally. He uses technical terminology for not only the category of transmedia characters but also surrounding theories such as “actanial functions” (a storytelling concept). This shows that the text is aimed at academics, those with existing knowledge in these areas. For newcomers to the world of character design this could create a slight barrier in initially understanding what is being stated. Nevertheless Thon occasionally adds quotes with an alternative writing style such as Eder’s observation that “many have written only a little and only a few have written much on characters,” a phrase that can be easily understood and applied in the digesting of the text that follows.

Thon’s next major conclusion comes after the resolution of two questions arising from a definition that he feels is too simple which says that “text- or media-based figure[s] in a storyworld, usually human or human-like.” He comes to the agreement that characters are more appropriately defined by their ““intentionality” than via their “human-ness”,”. Here, Thon is saying that a character would have their own goals or motives in a story regardless of whether they are human or possess human-like attributes such as emotions or morals. Thon’s more inclusive definition allows for it to cover non-human creatures or even objects as still playing meaningful roles in a story.

As a character concept artist, I work on non-traditional forms of characters regularly and have to carefully attempt to portray their motives among other attributes visually into their character design. Knowing that this research can be applicable to all of my own character designs will be important in strengthening their concepts too.

The next and final point that I will explore here is Thon’s approach to how flexible a character concept artist like myself can be with well-established character names also referred to in Thon’s article as cultural icons or popular heroes. While a writer or concept artist would need to be more rigid in how far they tread from the original character for smaller scale or single-media characters, when it comes to names like Lara Croft, James Bond or Batman, they become almost mythical and in the same way that a mythical character they can be represented in ways that can sometimes contradict each other due to their various forms stories and histories.

For example, Batman has been through many different interactions, environments and time periods by different artists and directions in different media. Those parts will be loved or even favoured by different people for different reasons, so his character will become more flexible in that way as the audience can agree to disagree. This is later explained as the concept of charity which I explored in my Reader.

While the section on conceptualising characters is devoid of primary research directly by Thon, there is an extremely high amount of other authors, academics and sources quoted. This is most apparent in the second paragraph on the emergence of theoretical work on characters in other media with no less than fifteen in-text citations. Although there are several occasions where Thon actually references himself, it is almost always with a co-author or immediately backed up by another author. This helps conclude that Thon’s work is highly credible, with a good degree of transparency and that the arguments and points made are convincing.

Another major conclusion that can apply to my work that I have learned from Thon’s article would be being aware of limitations of certain media types when conceptualising characters. This is something that can help concept artists stay ahead of AI artworks. While AI creators like Midjourney create incredible character depictions at first glance, when it comes to creating costumes in certain budgets; or from accessible materials; or to certain polygon counts, human creativity with applied knowledge of transmedia theory and the limitations therein is needed from the beginning of the process.

#sources and significance

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al-hekima-madara-blog · 3 years ago

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"Hashirama, when did I go wrong ?" 2/2 Breath your spirit into the mud

An other Madara's analysis :

Madara is a great shonen villain. The Greatest. But since he asks for a way of redemption and Hashirama is still busy, I gladly proposes my own reflexions.

In the Part 1 : "Hashirama when did I go wrong?" 1/2 Dominate your inner demon We delve into his first mistake, his inability to build trust with others. Inability as well to surrender himself to Fate, since it belongs to the realm of the Unknown. The very concept he can't control. But that's the point of human's experience, do your best with your limited power, and limited time you got and leave the rest to the Fate. I know, it sounds totally crazy considering his position and the shitty fate he got but it was the only sane way. Suspicion attracts more suspicious situations. In contrary hope attract unexpected new opportunities. It's the cheesiest explanation of law of attraction I ever gave, Hashirama will be proud of me. I can feel him sniffing with tears of joy.

This being said, Madara is a genius mind. Ahead of his time, pioneer and avant-garde : first Mangakyou Sharingan, first Eternal Mangakyou Sharingan, first to control a Bijuu, first to awake a Rinnegan on his own, insane fighting creativity, crazy long-term strategist, a longevity beyond the 30's something of his time. He both thinks fast and forward. And as in everything in life, it's within your biggest qualities that reside your own limits. His mind is boundless, free like the wind, driving and bold like fire but real world is very mokuton slow and steady like earth, fluid and clingy like water. Leading me to his second mistake : Madara's inability to have a vision rooted in reality. Let's go !

An idealist

Something rarely discuss about Madara aside is ninjustu's abilities is his smartness. I often headcanon him as a strong thinker and heavy reader of ancient philosophy, literature, and history. And I won't be surprise if he was into calligraphy and haiku since it was an ancient art practice by warrior class. We saw Hiruzen doing it in the beginning of Naruto which mean it was a practice he learned from the founders generation. An other clue is his attraction to elegance. He had way to much vocabulary comparing to his generation and too complex to grab for a simple children like Naruto or Obito. He often talks with poetic metaphor and this from early age. We have « I reach the other side », the famous « Do you want to dance ?», even his « I hate people behind my back» had many implied meanings. And he always have an unsolicited aesthetic opinion on everything and everyone.

Madara is the only ninja (maybe with Orochimaru) who was genuinely curious about ninjutsu's origin. It's not enough for him to master a power, he needs to know the whole concept behind its mechanism. In the second part of his life, When he denied this world, he let himself being obsessed by abstract dilemma . What is peace ? How to escape duality of this world ? How escaping suffering not for himself but for whole humanity ? His ideal was by nature purely metaphysic ( from the greek meta = beyond, physic = matter) and detach from the material world that he intentionally denied. He went so far into denial the matter than he even conceptualised his own self. How generous of him we can all be Madara if we obey him and follow his plan😅.

a quick thinker

His utopian sensibility is hold by a strong intuition. In stressful situation he demonstrate how he analyses every details and act quickly. It's a precious gift during a fight to death. But in daily life, it made him so nervous and impatient. His mind is calculating already 75269 possibilities with 58962 parameters with a timeline of 250 years ahead while the average joe only thinks about his next ramen. People are slow to him. And he can't just chill.

He make up his mind quickly and with his natural pessimist nature end up to gave up as well quickly. He gave up quickly Hashirama's friendship without putting a bit of faith in future. That's why I said learning to surrender to fate is important you never know what future can bring you to open a new door, when an other one stay closed. In my opinion as well I think he signed peace treaty with the Senjus to soon and pressured by context. We don't know what they talk about but for sure Uchiha clan's political position was not a subject and cost him the respect he deserved as founder. Realising his mistake, he gave up as well too quickly Konoha and his clan. Even if you had valid reasons, you cannot ask your clan to join their biggest enemies one day and one year later when they start to find a little bit of security ask them to leave and follow you out in the wild shinobi world. We don't know either how went the conversation with his clan but we know he is not the most talkative person. It went probably something like :

MADARA : We gotta go.

CLAN : but why ?

MADARA : In chapter 399 Konoha will commit genocide on us. I read the script.

CLAN : What script ? We're confused...one day we should be with senju, an other day not... and we already pay our children's fees in ninja academy and what about the mortgage to Konoha and...

* rambling for the next 20 minutes*

MADARA : ...

CLAN : Madara-sama ?

MADARA : ...

CLAN : Can you at least elaborate your thoughts ?

MADARA : ...

CLAN : ...

MADARA : Hn. Forget about it, I'm out.

He put zero effort to popularizing his thoughts. I'm not even sure Izuna ever knews what was his brother's real dream. His quick thinking was perceive unstable to normal citizens.

I can't find anymore this analysis I read on tumblr and if anyone remember please let me know and I will add the source. Someone said that the main difference between Madara and Hashirama's dream was one was looking for an inner Peace and the second was about Outer Peace. Hashirama is about structures, village, clans alliance. And his idea is reinforced by Tobirama who swear only by law enforcement and suppression of emotion altogether.

Madara wanted a way for people to live together despise hate and mistrust rooted in clans for generation. Hashirama rooted this concept in a village. On paper, the combinaison of both of them sounds amazing. But in the storyline, a lot of Madara's point of view stayed unheard : How to reach forvigeness when your very neighbough murder your brother ? Shall we forget and move on ? Shall we ask for justice while every ninja including himself had been too responsible for countless orphans ? Shall we accept to give up one's dream to serve someone else's dream ? How reconciliate owns personal grief with a need for greater good?

It's not enough to live in a village together with rules and hierarchy. In the end we still live with people's pain, ego, hope, dream, ambition. Konoha was built without taking the time to solve this issue between the Senju and Uchiha. As Hashirama admitted himself because they were in hurry to build peace. The will of Fire is in reality the will of the Senju inherited from Asura Otsusuki. But what about Uchiha's Will and Indra's legacy ? Did they take the time to merge both philosophies in order to create a unique Konoha's Will born from both ideologies ? I don't think so. This big problem leads inevitably to those unsolved negative emotions who flow down the village's foundations, and putrified them until later it was impossible to ignore the filths.

When Hashirama begged Madara to stay in the village he knew somehow that with only Tobirama at his side his Outer peace will be more crystallised than ever and more rigid. People are not machine their are both creativity and rationality. Ying and Yang, Light and shadow, you get the point.... With Madara's departure as a powerful Ying energy, and Hashirama's inability to convince him to stay, Konoha was doomed to failed. And it did.

Madara saw in Konoha a hollow shell. And to Hashirama, Madara's vision was like a breath of air. Divinely inspirated but hard to grasp even for the clan he swore to defend. After his departure, Hashirama's vision solidified until it got devoid of compassion. This mentality leads to three Shinobi wars, children still soldiers or worse tik-tok bombs Jinchurikis. Madara's vision left forever the shore of reality, denying human world, denying time passing, abolishing people's freedom of choice. His genius mind kept drifting far, far away into a never-ending genjutsu. He never "wake up to reality", he drown himself deeper and deeper unto Black Zetsu's illusion. His brilliant spirit was never incarnated into earth. Instead it was floating between life and death. Like an unborn ghost inside a barren vessel.

Gaara can be a good example for him to get inspired. Like Madara he is capricorn, quiet and stern personality, like him he suffered trauma, betrayals from his kin and end up with a frightening reputation. When he was Kazekage, people weren't immediately enjoyed by it. Many time some tried to get ride of him. But he did what every capricorn knows to do best : working harder, working for the people and slowly gaining their trust, time is always capricorn's ally. He gained back the support of his brother and sister. Keep strong diplomatic relationship with Konoha. Adopt and raise a son and passed down his wisdom to the next generation And finally people recognise his sacrifice for protecting his village.

And contrary to Gaara, Madara at the time of Konoha had a longer experience in leadership, he could have been easily a second Hokage if he wanted to seriously. By slowly surrounding himself with people out of his clan, even out of Konoha and the Fire land. Using Hashirama's ruling time to build his team, recruiting them specifically for the talents he lacks the most :

sweet diplomatic team to counter Hashirama's natural charm.

Smooth politicians with great skills in hypocrisy and seduction to deal with the feudal Lords courts

an aggressive legal team to defend Uchiha's rights, as a lioness defending her cubs.

an excellent Public Relation team because the word needs to know how sexy Madara actually is, to keep Uchiha's contribution to Konoha alive in memories.

Well I think I answered what was Madara's main mistakes in my point of view. I'm as well curious to hear your opinion.

And if you want to read more about my Madara's analysis follow me in my main page here

#Al Hekima post #madara uchiha #uchiha madara #naruto analysis #naruto shippuden #naruto fandom #uchiha clan #warring states era #founders era #madara #madara analysis #hashirama #gaara #konoha #konohagakure #senju

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architectnews · 3 years ago

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Singapore Architecture News: New Buildings

Singapore Architectural News 2021, Buildings in South East Asia, Architects, Asian Design Images, Projects

Singapore Architecture News

Key Building Developments in southeast Asia: Built Environment Updates

post updated 31 July 2021

Singapore Building News

Singapore Architectural News, latest at the top

Singapore Architecture Designs – chronological list

See the latest luxury residential properties for this small South East Asian country at this link:

Singapore Houses

31 July 2021 CapitaLand News

CapitaLand engages retail investors on merits of proposed restructuring at SIAS dialogue session

Singapore – CapitaLand held a virtual dialogue session with shareholders as part of its retail outreach for the proposed strategic restructuring and listing of CapitaLand Investment (CLI). More than 150 retail shareholders participated in the live virtual dialogue session on 28 July 2021, facilitated by the Securities Investors Association (Singapore) (SIAS).

– With CapitaLand’s Group CEO Mr Lee Chee Koon (left) and Group CFO Mr Andrew Lim (right) engaged over 150 retail shareholders in a virtual dialogue session, facilitated by the Securities Investors Association (Singapore) (SIAS). They highlighted the key rationale and benefits of the proposed transaction before addressing questions posed by Mr Robson Lee (middle), Assistant Honorary Secretary of SIAS, on behalf of CapitaLand retail shareholders:

Mr Lee Chee Koon, Group CEO of CapitaLand Group and Mr Andrew Lim, Group CFO of CapitaLand Group started the dialogue by highlighting the key rationale and benefits of the proposed transaction before addressing questions posed by Mr Robson Lee, Assistant Honorary Secretary of SIAS, on behalf of CapitaLand retail shareholders.

– With CapitaLand’s strong track record in growing fee income for its Fund and Lodging Management businesses, and disciplined capital recycling, CapitaLand is confident that the proposed restructuring will allow CLI shareholders to potentially benefit from the substantial long-term value that it aims to unlock. Pictured is Capital Tower and 79 Robinson Road, two assets that will come under CLI post-proposed transaction:

The following key points were raised at the session:

• Rationale for the proposed restructuring – Mr Lee said: “With our strong track record in growing fee income for our Fund and Lodging Management businesses, and our disciplined capital recycling, we are confident that CapitaLand’s proposed restructuring will allow CLI shareholders to potentially benefit from the substantial long-term value that we will aim to unlock.”

• CLI’s competitive advantage as a REIM with leadership in Asia – Mr Lee said: “CLI’s long standing presence in Asia will give us an edge over non-Asian based REIMs, drawing on our own heritage, history and strengths in Asia. We need to chart our own path, identity our areas of competitiveness, and become an asset manager that is globally competitive with a very strong foundation in Asia.”

• Asset-light lodging management platform a good fit for CLI – Mr Lim said: “The underlying principle of both platforms is the same – we are managing third-party capital and earning a fee. Therefore, these two capital efficient businesses are complementary, and a good fit for CLI.”

• Prudent dividend policy – Mr Lim said: “The management team has made the decision to keep our dividend policy unchanged for now, that is to declare a dividend of at least 30% of our cash PATMI. This is for two reasons. One, to give our current shareholders, and hopefully shareholders of CLI going forward, a familiar reference. Two, we are cognisant that we are emerging from a difficult operating environment caused by the pandemic. We are in a period of recovery, which while positive, remains uncertain. The management team has thus elected to maintain an unchanged dividend policy for CLI in the near term.”

– CapitaLand’s strong reputation in Asia, with over 20 years of experience in markets including Singapore, China, India and Vietnam, gives it the ability to access different investment opportunities. The opening of Raffles City The Bund (pictured), CapitaLand’s third Raffles City development in Shanghai, affirms the Group’s commitment to grow its presence and investor base in China by leveraging the signature Raffles City brand:

– CLI will consolidate the Group’s investment management and lodging businesses, both of which are capital-efficient. As the lodging platform continues to scale towards the planned target of 160,000 units under management by FY 2023, it expects to contribute materially to CLI’s overall earnings on a recurring basis. Somerset Feliz Ho Chi Minh City (pictured) opened in July 2021, adding to Ascott’s growing global portfolio and further strengthening its position as a leading international lodging owner-operator:

6 July 2021 Kandis Residence Design: ONG&ONG photo courtesy of architects office Kandis Residence Set within an idyllic location in northern Singapore, Kandis Residence contains 130 condominium units housed within four residential blocks – one three-storey block, along with three seven-storey blocks. The project was predicated on the concept of “homes in the woods”, envisioned as a green, immaculately landscaped sanctuary that accommodates the modern urban lifestyle.

28 Apr 2021 Park Nova Luxurious Green Tower Park Nova Luxurious Green Tower

20 Apr 2021 10 Design Singapore Studio News 10 Design Singapore Office News International architecture practice, 10 Design, is pleased to announce the opening of a new design studio in Singapore. It is established to support the practice’s ongoing and new projects in SE Asia.

11 Nov 2020 Climate and biodiversity emergency Singapore Leading Singaporean landscape architecture firms are calling on local and international landscape architects to act in response to climate change and biodiversity loss.

10 Nov 2020 CapitaLand Sustainability X Challenge

30 Sep 2020 Tropical Avant-Garde

17 Sep 2020 Apple Marina Bay Sands Design: Foster + Partners photo : Finbarr Fallon Apple Marina Bay Sands A new distinctive 30-metre-diameter structure is a fully glazed dome with a black glass base, complementing the sister pavilions through its scale and materiality.

9 Sep 2020 Rochester Commons

6 July 2020 Aedas Singapore Office Interior Design Architects: Aedas image courtesy of architects office Aedas Singapore Offices Interior Design Just off a busy thoroughfare in Singapore’s science and technology hub, Buona Vista lies a busy business hub. Once a quiet neighbourhood is now dotted with high technology offices, young working professionals, shopping and entertainment centres and contemporary residential developments.

7 May 2020 ADDP Architects Office Lobby

1 Mar 2020 Seductive Simplicity House

28 Feb 2020 Ninety 7 House

21 Nov 2019 Liang Court Design: City Developments Limited and CapitaLand Limited image : CapitaLand / CDL Liang Court Towers City Developments Limited (CDL), CapitaLand Limited (CapitaLand) and Ascott Residence Trust (Ascott Reit) have teamed up to redevelop the Liang Court site1 into an integrated development following the proposed sale by CDL Hospitality Trusts (CDLHT) of its total interest in Novotel Singapore Clarke Quay.

6 Nov 2019 Raffles Hotel Singapore Restoration, 1 Beach Road Design: Aedas image courtesy of architecture office Raffles Hotel Restored and refurbished this classic hotel building officially reopened in August 2019. It first opened back in 1887.

31 Oct 2019 Founders Memorial Design: Cox Architecture image courtesy of architects office Founders Memorial This project aims to create a world-renowned public building that embodies the democratic principles that Singapore has been built upon. It will do this by being a place for the Singaporean people and visitors to gather and celebrate the achievements of past, present and future Singaporeans.

22 Oct 2019 Sentosa-Brani Master Plan

11 Oct 2019 Robinson Tower Design: KPF / Architects 61 photo : Tim Griffith Robinson Tower Building News Landscape architects Grant Associates has scooped an award at the Singapore Landscape Architecture Awards 2019 for Robinson Tower.

1 Jul 2019 New Science Centre at Jurong Lake Gardens

21 May 2019 Funan Singapore Shopping Mall news

More contemporary Singapore Architecture News online soon on e-architect

Singapore Architecture News 2018

27 Nov 2018 UNStudio Buildings in Singapore Buildings completed by this celebrated Dutch architecture office in the city to date:

V on Shenton Building

Scotts Tower

The Ardmore Residence Tower

Singapore University of Technology and Design

31 Oct 2018 The Forever House, Serangoon Architects: Wallflower Architecture + Design photograph : Marc Tey Photography New House in Serangoon

2 Oct 2018 CapitaLand ‘office of the future’ ecosystem image courtesy of architects Capitaland Office of the Future CapitaLand initiated its ‘office of the future’ strategy aimed at engendering a culture of innovation, promoting talent attraction and retention and optimising cost efficiency for tenants of its office properties.

4 Jul 2018 Marina One Singapore, 5 Straits View Design: Ingenhoven Architects image © ingenhoven architects / photo : HGEsch Marina One in Singapore The high-density building complex with its mix of uses extends to over 400,000 square meters and, with its group of four high-rise buildings, defines the Green Heart—a public space extending over several stories. This three-dimensional green oasis reflects the diversity of tropical flora.

4 May 2018 Venice Biennale Singapore Pavilion image courtesy of exhibition organisers Venice Biennale Singapore Pavilion Curated by the Singapore University of Technology and Design (SUTD) in collaboration with the National University of Singapore’s Department of Architecture (NUS), the Singapore Pavilion asks if there is indeed No More Free Space? in the island state, in response to the overarching theme Freespace conceptualised by curators Yvonne Farrell and Shelley McNamara.

11 Apr 2018 Early Learning Village Design: Bogle Architects photo © Bogle Architects-Infinitude Early Years Village Singapore Building A world first in pre-school facilities, the ELV delivers a multicultural, flexible environment with capacity for 2,100 children from nursery to kindergarten age, as well as 400 support staff

10 Apr 2018 Changi Airport Interior Design: Moment Factory image courtesy of architecture office Changi Airport Building Singapore’s Changi Airport, voted by air travellers as the World’s Best Airport for the sixth consecutive year, is taking its passenger experience to a new level with Terminal 4. As part of their quest for excellence, Changi Airport Group commissioned Moment Factory to produce two media features designed to entertain passengers as they navigate the airport’s remarkable interior.

9 Feb 2018 Raffles Place Singapore: 88 Market Street Development images courtesy of architects Raffles Place Singapore: 88 Market Street Development CapitaLand Limited (CapitaLand), CapitaLand Commercial Trust (CCT) and Mitsubishi Estate Co., Ltd (MEC), the joint venture partners for the redevelopment of Golden Shoe Car Park, today unveiled more details on the ‘future of work’ blueprint for the new integrated development at its groundbreaking ceremony.

More Singapore Architecture News online here soon

Building Design Updates 2017

5 Sep 2017 Singapore High Line Park Signage and Wayfinding Consultants: The Buchan Group, Brisbane Architect: Nikken Sekkei, Architects with Tierra Design and Arup Singapore image courtesy of architects Singapore High Line Park A South East Asia version of New York City’s High Line is fast becoming a reality, with the masterplan and concept design of the first stage of turning an unused rail corridor into public space now complete.

The Paper Pavilion – Radical Retail

Jubilee Bridge

10 Oct 2017 Sandcrawler Office Building Design: Andrew Bromberg at Aedas photography © Paul Warchol Sandcrawler Office Building – more offices at Singapore Office Buildings

MediaCorp Buona Vista: Mediapolis

Resorts World Sentosa Buildings

Gardens by the Bay Singapore – Supertrees

5 Sep 2017 Shan Shui Shi Lin Cultural Centre Design: Park + Associates photo : Edward Hendricks © Park + Associates Pte Ltd Shan Shui Shi Lin Cultural Centre The key challenge was working around existing structure the limits to fulfil tough programmatic requirements – indoor sports hall, a 500-seater auditorium, and an alumni Board of Directors lounge – while also generating the maximum amount of open space for landscaping.

30 Aug 2017 House 24

28 Aug 2017 Masterplan for Jurong Lake District Design: KCAP Architects&Planners ; SAA Architects ; Arup ; S333 & Lekker picture © KCAP/SAA/Arup/S333/Lekker Masterplan for Jurong Lake District The Singapore Urban Redevelopment Authority (URA) has unveiled the masterplan for Jurong Lake District in Singapore, the city’s future second Central Business District. The JLD masterplan is exhibited till mid-September and invites the public to share their views.

29 May 2017 Apple Orchard Road – first Apple Flagship in Singapore Architects: Foster + Partners photo courtesy of architects Apple Orchard Road Singapore Apple Orchard Road is the first Apple Flagship in Singapore, highlighting its role as a global centre for creativity. Its design reflects the vibrancy and innovative spirit of the city-state. The project is another example of the close collaboration between Foster + Partners and the design team at Apple led by chief design officer, Sir Jonathan Ive and Angela Ahrendts, senior vice president of Retail and Online Stores.

page updated 27 Oct 2016 with new photos National Gallery Singapore, 1 St Andrew’s Road Design: Studio Milou Singapore, in partnership with CPG Consultants photo courtesy of architects National Gallery in Singapore Building This visual arts institution is home to Singapore’s National Collection, the largest public collection of visual arts from Singapore and Southeast Asia from the 19th century to the present day.

20 Feb 2017 Singapore High Speed Station Building Design – overall: AECOM ; architectural – Farrells and Architects 61

The Land Transport Authority (LTA) has appointed AECOM Singapore to conduct an advanced engineering study for Singapore stretch of the Singapore-Kuala Lumpur high-speed rail (HSR) infrastructure.

Additions for e-architect’s Singapore Architecture News are welcome

Location: Singapore, South East Asia

Singapore Architecture

Singapore Architecture Tours by e-architect

Singapore building designs selection:

Scotts Tower – Residential tower building Design: Rem Koolhaas Architect / OMA Singapore Tower

Moulmein residential tower Design: WOHA Architects Singapore tower building

New Singapore Architecture

Singapore Buildings Archive

The Interlace Singapore Residential Development Design: Ole Scheeren of OMA The Interlace Singapore Complex

Marina Bay Financial Center towers Design: Kohn Pedersen Fox Associates Marina Bay Financial Center Singapore

Farrer Court – residential development Design: Zaha Hadid Architects Farrer Court Towers

Singapore Architects Offices

Comments / photos for Singapore Architecture News page welcome

The post Singapore Architecture News: New Buildings appeared first on e-architect.

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lupine-publishers-rrhoaj · 4 years ago

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Lupine Publishers| Trust, Risk, Aging and Health in Asia: A New Philosophy

Lupine Publishers | Journal of Health Research and Reviews

Introduction

This paper explores the concepts of “trust” and “risk” that both are theoretical tools and arguably major facets of “late modernity.” During the 1970s, the use of the notion “risk” was mainly confined to “natural sciences,” when the concept was used to analyse and improve the “security” of technological systems. Re-terroritialized definitions of trust and risk are rapidly changing theoretical knowledge bases of gerontology. A more nuanced informed understanding of transition of a trust society to a risk society illustrates the interconnectedness of an aging population and relationship to health. Risk is much more than a computation of costs and benefits, it is a theoretical mechanism for weighing different sets of political and economic orientations which impinge on the positioning of older people, health and aging populations. The article takes to task what we understand by trust and risk. Drawing from examples in Asia, the article assesses how the transition from a trust society to a risk society has implications for how older people are made health subjects in contemporary society. This article explores the concept of “risk” in relation to the academic study of aging and health in Asia. Ideas related with what has been conceptualised as the “risk society” Beck [1] have become part of the platform of how we define and position the “social spaces” in which to grow old. This has startling continuities across Asia. These spaces have served to place the definition of what it means to be an older person Phillipson & Powell [2]. As Ulrich Beck [1] claims, in the conditions of advanced modernity, growing old moves from being a “collective” to an “individual” experience and responsibility.

Indeed, foremost in Asian societies with developed health systems they are governed by concepts of risk and individualisation Giddens [3]. Alan Walker and Gerhard Naegele [4] convey the critical message that there is a pressing need for governments and other agencies to respond to changing circumstances of an aging Asian population. Asian political processes have become preoccupied with the fiscal support of the delivery of social services to an aging population as this demographic shift alters the balance between those in work and paying taxes, and those in retirement receiving benefits and consuming health care in Asia. More specifically, in contemporary Asian society, risk is a broad concept that extends over a broad range of social practices that impinge on the experiences of older people. Current debates about older people and relationship to sexuality, crime, national security, food safety, employment and health are all underscored by risk Phillipson [5]. Awareness of the transnational nature of risk has led the United Nations to form its own Commission on Human Security. A recent report by the UN Commission suggests ways in which the security of older people, for example, might be advanced-from humanitarian strategies through to economic, health and educational strategies Powell [6].

What is Risk?

In science, risk has traditionally been approached as an objective material entity, to be mastered by processes of calculation, assessment and probability. In the 21st century, “advances” in science and medicine led to the eradication of many infectious diseases, raised life expectancy in aging and improved quality of life across Asia. The nature of scientific knowledge about risk and impact on aging has articulated the perspective that as a person goes through aging process there are heightened risks to the human body-in the mind and internal organs of the body Phillipson & Powell [2]. It has gradually become clear that the very institutions entrusted with regulating risks have themselves transmuted into risk producers. In recent times, multinational corporate business, science, medicine, and government have all been accused of generating various dangers to public health which impinges on the safety of older people. In response to public concerns about unbounded techno-scientific development and the apparent inefficacy of expert systems, interest in risk has gathered momentum within health science disciplines in recent years Giddens [3]. However, whilst the language of risk has become prolific, the concept itself remains cloaked in ambiguity and its relationship to aging scantily researched; making risk and aging an important and significant issue for social policy. Yet, it is under theorised and reified in its conceptualization. Such an approach seeks to capture the dimensions of subjectivity within the social-political constraints that shape individual lives. This allows reconstructions of logics of action or structuration behind current neo-liberal selfrepresentations of aging identity. It could be supposed that such constructions enable us to reconstruct the complexity of aging in social contexts and the influence of, for example, health on these experiences as a ground for risk perception. Importantly, the notion of an aging society becomes secondary to the emphasis on the way in which families and individuals handle the demands associated with an aging population. Phillipson and Powell suggest that there are three factors that make risk important to understanding aging: First, the globalisation of aging is increasingly recognised. All societies (poor as well as rich) are undergoing similar population transformations (albeit with notable exceptions such as those in countries devastated by the AIDS virus). Aging thus becomes simultaneously both a biographical event and one shared with different cultures and societies across the globe. Second, aging experiences are themselves hugely (and increasingly) diverse. Under the guise of the health state, growing old was compressed into a fairly limited range of institutions and identities (notably in respect of income and lifestyles). Aging in the post-health society, however, has substantially expanded in respect of social opportunities as well as economic inequalities. Third, aging is also being changed by what Beck [1] describes as the era of reflexive modernization. This may be conceived in terms of how individuals and the lay public exert control and influence on the shape and character of modernity Phillipson & Powell [2] p. 33.’ The more Asian societies are modernised, the more older people acquire the ability to reflect upon the social forces of their existence within the conditions of risk constraints. Hence, we need to understand the major social forces which impinge on aging itself. Such social forces that create risk associated with aging. This implies a breakdown in trust as a key modernist principle in contemporary society.

A Trust Society?

There are increasing attempts to conceptualize the notion of “trust” in society. Someone who trusts has an expectation directed to an event. The expectations are based on the ground of incomplete knowledge about the probability and incomplete control about the occurrence of the event Caplan [7]. Trust is of relevance for action and has consequences for the trusting agent if trust is confirmed or disappointed. Thus, trust is connected with risk Giddens [3]. Up to now there have been few attempts to work out a systematic scheme of different forms of trust in between older people and individuals, institutions or policies that impinge on their identity performance. Social trust tends to be high among older people who believe that their public safety is high Walker & Naegele [4]. Ewald [8] distinguishes between trust in contracts between people and State (such as pension provision), trust in friendships across intergenerational lines, trust in love and relationships and trust in foreign issues (associated with national identity across Asian countries). However, sociological theories which suppose a general change in modernity Beck [1] assume that with the erosion of traditional institutions and scientific knowledge trust. This becomes an issue more often produced actively by individuals than institutionally guaranteed. Trust seems to be something that is produced individually by experience and over time and cannot be immediately and with purpose be produced by Asian governments without dialogical interaction with older people on issues affecting their lifestyles and life-chances such as care, pensions, employment and political representation in the Asiaan Union Walker & Naeghele [4]. Though as Giddens [3] stresses, risk is the feature of a society shifting its emphasis away from trust on traditional ties and social values. How risks are perceived and formulated as a breakdown in trust reflects the essentially discursive practices of politics and power in modernity itself. The ability to control and manage perceptions about moral intentions of a pervasive governmental rationality may be part of an understanding of risk and health.

Risk Society

The concept of risk has come to assume accelerating prominence in sociological writings of Ulrich Beck; far more so than the concept of “trust.” Beck [1] claims that modernization helps the self become an agent via processes of individualization which they both see as indicative of neo-liberalism; they advocate that the self become less constrained by traditional group identities and institutions but more constraint by the dynamics of markets (labor markets, consumer-markets) and secondary institutions, and becomes therefore a project to be reflexively worked on in the context of a globalised world. As we see the development of this the new global order, some risks such as those caused by hazardous industries, are transferred away from the developed countries to the Third world which has huge health implications. Thus, while Beck sees risk society as a catastrophic society, what we are seeing is the transference of certain risks through aversion and management. Beck acknowledges that some social groups are more affected than others by the distribution and growth of risks, and these differences may be structured through inequalities of class and social position. The disadvantaged have fewer opportunities to avoid risk because of their lack of resources compared with the advantaged. By contrast, the wealthy to a degree (income, power, or education), can purchase safety and freedom from risk Beck [1] p. 33. However, it is the gestation and the constellations of the risks, which are unknown, and thus risk affects those who have produced or profited from them, breaking down the previous social and geographic boundaries evident in modern Asian societies. Beck [1] argues that the “former colonies” of the world are soon becoming the waste dumps of the world for toxic and nuclear wastes produced by more privileged countries. Risks have become more and more difficult to calculate and control. Hence it can be argued that risks often affect both the wealthy and poor alike: “poverty is hierarchic and smog is democratic” Beck [1] p. 36. At the same time, because of the degree of interdependence of the highly specialised agents of modernisation in business, agriculture, the law and politics, there is no single agent responsible for any risk: “there is a general complicity, and the complicity is matched by a general lack of responsibility. Everyone is cause and effect” Beck [1] p. 33 and so “perpetrator and victim become identical” Beck [1] p. 38 in a consuming society. It is this invisibility of the threats that saturate the “risk society” making it harder to identify the offender of global risk. Beck [1], argues that this fundamentally poses the second challenge for analyses of these socially constituted industrial phenomena: interpretation becomes inherently a matter of perspective and hence political. Politicians constantly invoke science in their attempts to persuade the public that their policies and products are safe for personal health.

The inescapability of interpretation makes risks infinitely malleable and, as Beck[1], p. 23 insists, “open to social definition and construction.” This in turn put those in a position to define (and/or legitimate) risks-the mass media, scientists, politicians, and the legal profession-in key social positions (Phillipson & Powell, 2004). Beck makes the point that risk “is not an option which could be chosen or rejected in the course of political debate” Beck [9] p. 28. Instead this is an inescapable product and structural condition of advance industrialisation of where we produce the hazards of that system, in Beck’s words (1996, p. 31) “undermine and/ or cancel the established safety systems of the provident state’s existing risk calculation.” Beck [9] further exemplifies this point by examining contemporary hazards associated with nuclear power, chemical pollution, and genetic engineering and bio technology that cannot be limited or contained to particular spaces, and that which cannot be grasped through the rules of causality, and cannot be safeguarded, compensated, or insured against. They are therefore “glocal”: both local and global. Risk society is thus “Asian risk society” and risks affect a Asian citizenship. The questioning of the outcomes of modernity in terms of their production of risks is an outcome of reflexive modernisation. An awareness of risk, therefore, is heightened at the level of the everyday. In Asia, risk, in its purely technical meaning, came to rely upon conditions in which the probability estimates of an event are able to be known or knowable. This has the effect of paralysing action and bringing insurance systems that promised to cover eventualities into chaos. In Great Britain for example, the health state, an insurance system that promised to cater for people from cradle to the grave, is unable to sustain that promise for future generations. The health system as a system of social insurance is beginning to lose its legitimacy with the rise of private health insurance. In the United States, 70% of its population do not have private health insurance until Obamacare (universal coverage) which President Trump is attempting to bring down.

If this might be happening to older people in US, what are the implications in Asia? Two developments seem to be responsible for the growing risk awareness in modern industrialised societies in Asia, even though their respective contribution is contested. The new awareness of the limits of the technical and the mathematical/ statistical calculation of risk would cause an increase of concerns regarding the rational controllability of an uncertain future Beck [1]. Furthermore, the sustained endeavour to apply a new liberal style of governing modern societies would increasingly shift the responsibility of the management of risks and uncertainties from the state to the individual. Socio-demographic changes as well as shifts in governance contribute to the perception of risk and uncertainty regarding aging in two ways: First, they promote the understanding of risk and uncertainty in aging and second, they suggest to perceive age as risky and uncertain. In order to approach the concept of risk and aging it is suggested that by conceptualising risk in a broader framework of (un-)certainty Zinn [10] where risk is seen as a specific strategy to produce certainty in order to enable to act. The future becomes accessible for planning and action. In order to work on itself, the “self” or at least according to Beck [1] p. 181 relates to self-political rationalities and risk: “risks become the motor of self-politicization of modernity in industrial society.” One element of the “motor” of self-politicisation is how successful neoliberalism has been in fashioning common sense discourses around its political rhetoric. Beck [1] p. 77 claims what we are witnessing is a “completely altered relationship between autonomous and self-organized public spheres on the one hand, and sub-systems steered by money and administrative power on the other.” Selfautonomization coupled with administrative power is indicative of “risk”: neo-liberal features of social policy for older people. Older people living in neo-liberal EU societies have therefore moved toward a greater awareness of risk and are forced to deal with risks on an everyday basis: “Everyone is caught up in defensive battles of various types anticipating the hostile substances in one’s manner of living and eating” Beck [11] p. 45. The media for their part have taken up warnings of experts about risk and communicate them to their mass publics in the Asian Union. There is an ambivalence at the heart of Asia: on the one hand, older people are to be “managed” by other administrative powers such as professional experts in modernity Phillipson & Powell [2]; on the other hand, older people are left to govern themselves. This moral idea of freedom and responsibility is involved in the modern notion to govern Asian societies but is determined by the limits of everyday life in socioculturally different circumstances within a “risk society” Beck [1]. The tension between ideal and socio-cultural structured life constitutes the battleground of the disputes on the governance of aging. These, along with ties between generations, created a social, economic and moral space within which growing numbers of older people could be channelled and contained. For example, for a period of 20 years or more, moving older people into the zone of retirement and the health state, held at bay the underlying issue of securing a place and identity for aging within the framework of an advanced capitalist society. The meaning of later life was, temporarily at least, constructed out of a modernist vision where retirement and health were viewed as natural end-points to the human life cycle.

The governance of aging originally developed and was closely linked to the creation of a social security system in Asia influenced by Europe. The idea of prudence and self-responsibility among the working class was expressed through such institutions as the friendly society and the revolving building society and promoted both political quiescence and the stability needed to ensure steady growth in the later half of the 19th century Beck [1]. This system was supplanted by the development of insurance in the 20th century leading to the modern health state (Ewald, 1986). The provision for aging was originally not central, because at the end of the 19th century most people did not reach the age of 70 to claim a pension and live through this last phase of their life without having to work. The original concept was to save the worker and its family in case of death or disablement of the breadwinner Zinn [12]. The strategies of risk-management by means of insurance were understood as sharing them between all insured people, which should be in principle as much as possible. But this fundamental concept has changed recently as part of a general change in the idea of insurance as well as the government of citizens. The responsibility of the state and thereby the risks are given back to the public. As Baker and Simon [13], p. 4 recently pointed out, “. . . private pensions, annuities, and life insurance are engaged in an historic shift of investment risk from broad pools (the classic structure of risk spreading through insurance) to individual (middle-class) consumers and employees in return for the possibility of greater return.” The understanding of the individual as a self-responsible actor in Asia as given for granted underestimates the various resources and life experiences different people possess. The strategies to cope with risk and uncertainty in the life course are rather oriented on the circumstances of everyday life, personal values and life experiences that relate to self-responsibility. Governmental programs are mainly developed against the background of the model of a self-responsible actor, and increasingly address people with significant lack of cultural and economic resources as self-reflexive and rational actors Zinn & Taylor-Gooby [14]. Although this concept might be generally helpful in order to formulate political programs they regularly fail because of this assumption. The governmental constructions of risks and aging in Asia converge in the notion of rational acting old people. It does conceptually ignore that the ability to be autonomous and rational is not a question of context-independent (free) will or something what is just given, but it is provided by context factors as well as biographical experiences which shape expectations regarding the future. Thereby accumulated “local knowledge” Wynne [15] produces logics of how to act best in an uncertain context Zinn [10], which include the policy of the government as well. This is not only important when people are old, but in earlier life phases when they have to deal with their expectations regarding old age and have to take precautionary measures. The unequal resources available, the unreflected routines and the needs and execution of everyday life shape what is the basis to act people go through “aging” process Powell & Phillipson 2004.

The extrication of these actions can be traced to at least three types of crisis affecting the management of aging populations in the last quarter of the 20th century: economic, social, and cultural. The economic dimension has been well rehearsed, with successive crises from the mid-1970s onward undermining, first, the goal of full employment (and hence destabilising retirement), and, second, the fiscal basis of the health state (accelerated with the onset of a privatisation from the 1980s onward Phillipson & Powell [2]. However, we are neither a provident state and or a providing state. The dialectic of risk and social insurance systems of calculation have failed to address or predict the increase in longevity, the blurring of the life-course and the growing trend for smaller families. What we are beginning to see occur with entry and immersion in to a risk society is the fracturing of insurance social systems that have failed to make accurate predictions in the Asian Union Phillipson & Powell [2]. This has led for those who can afford to invest in various insurance policies ways of minimizing risk that may befall them in times, when illness occurs, unemployment (i.e., mortgage protection), death, which are all sold on the basis of what may happen in the future. The short fall of this is that elders from lower socio-economic groups in Asia who without insurance will be caught within the widening fractures appearing in the health state [16-18]. Aging is also being changed by what Beck [1] describes as the era of reflexive modernization. This may be conceived in terms of how individuals and the lay public exert control and influence on the shape and character of emerging global institutions.

Conclusion

The expectation of negative events in the future and the different ways of how to respond to such expectations is central for the critical approach to trust, risk, aging and health. Part of this reflexive response is the importance of recognising self-subjective dimensions of trust, biographical knowledge and resources that impinge on the existential shaping healthy aging [19-22]. Hence, this discussion provides a critical narrative to the importance to the study of aging and health in Asia [23,24]. It has become commonplace for academics and practitioners to explore, develop, and apply an assortment of health perspectives on risk. In an uncertain world, question around risk and risk management have become ever more pertinent, leading to reflections on a number of different levels about “ontological security.” There is an urgency to reflect on these existential issues to understand the health positioning of older people in Asian society that are characterised by increasing uncertainty and risk before we generate the conditions of trust.

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visulconnections · 4 years ago

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workfromhomeyoutuber · 5 years ago

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hlcyncyx · 8 years ago

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friendly reminder that I got through today and idk how it happened im thankful 🌱🌿

2:05am |

omg wait. WAIT. this is like, very relevant to some research i did recently.

this is their main argument:

intimacy is the experience of achieving access through the transgression of boundaries, whether consensual or non-consensual

this is what the implications are:

and further:

at first i couldn’t wrap my head around it because if taken to its extremes, rape is considered an act of intimacy too, since the perpetrator gains access to the victim in ways others do not, and so is murder. both of these are postulated by the author also, which i was tbh v uncomfortable with. but i think this framework has value in that it removes the positive valence intimacy always seems to hold in any sort of literature. it’s always like, intimacy? gr8, good on u, go for intimacy.

but if you remove intimacy from this positive valence, i think it may be a lot more productive to study.

for example, i’ve always wondered what it was about interpersonal violence that kept people coming back for more and why it can be so attractive. i couldn’t wrap my mind around it, and i approached it from a lot of different angles - from psychodynamic approaches, guilt, self-punishment, cognitive approaches, maladaptive thought patterns, low self-esteem, over-compensating behaviours etc etc, but none could adequately explain why people ultimately choose to return to relationships involving interpersonal violence. if it’s just a coping mechanism, then replacing this particular coping mechanism with another coping mechanism should decrease someone’s reliance on interpersonal violence. however, this carries the assumption that interpersonal violence occurs due to push factors : people are forced to choose violence over something else less desirable. i think the angle that i’m taking for interpersonal violence is why people see the pull factor - why would you choose interpersonal violence over something else? that means that interpersonal violence doesn’t only consist of push factors but also pull factors - there must be something attractive about it. so what is the attraction of interpersonal violence?

interpersonal violence falls under the umbrella term of intimacy if it is cast in a neutral framework of transgression and access. even more, willingly entering into a violence cycle necessitates entrance into a trust cycle: that is when the other person is given the opportunity and has the ability to hurt you but doesn’t. (i think this is very subjective, to one person being “hurt” may have its thresholds in bleeding out while to another a simple slap is considered hurt, so there’s this subjectivity going on.) if approached from this angle, the attraction of interpersonal violence is that it is another (perhaps maladaptively) constructed way to achieve intimacy, especially for individuals who in the first place have no idea how to construct intimacy in a healthy way. second, it gives rise to the opportunity to elicit trust. third, and this is my own assumption, interpersonal violence gives rise to the opportunity to be cared for in very clearly tangible ways - this is where the other concepts pull their weight and start explaining other stuff like why interpersonal violence is an ideal coping mechanism.

idk i’ve barely delved into this research on the link between intimacy and violence, and everything is still v muddled, but this new conceptualisation of intimacy was rather interesting for me and i rmb thinking about it for weeks and weeks.

#fr #when will these books stop speaking to me lelz #🌿#personal

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vicostoness · 5 years ago

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watchilove · 5 years ago

Text

A watch for all time – The Big Crown ProPilot X Calibre 115 lays bare Oris’s historic watchmaking roots. But at the same time, it propels the independent company forward. It’s pure Oris – as nature intended.

youtube

How many of us really know how the technology around us works? As in, how the nuts and bolts come together to do what they do? How many can really grasp how a connected device taps into the great invisible network in the sky? It won’t be many. The advances of our age have distanced us from a tangible knowledge of how the things we own work.

In one sense, we’re content to embrace that. Smartphones, a common example, are tools we use for work. They bring us together so we can share stories and ideas. These are good things.

But while they enable us at their best, they enslave us at their worst. And because we don’t understand how they work, it can be hard to trust them; to really know them. Which we’re increasingly uncomfortable with.

This vein of thinking goes a long way to explaining why mechanical watches, dreamed up generations ago, are more relevant today than ever. No electronics. No connectivity. No apps. No smoke and mirrors. Archaic? Or enlightened?

By comparison, a mechanical watch is a hand-crafted object we can connect within the most natural sense. If we don’t move, an automatic runs out of power. If we don’t wind the crown every couple of days, a hand-wound watch will stop. The connection is tangible.

Big Crown ProPilot X Calibre 115

At Oris, we decided to look into the essence of that idea. If you took the honesty and integrity of a mechanical watch and stripped it back to its bare bones, to show its true nature, what form would it take? And what would an Oris watch conceptualised through that prism look like? What would it say? The answer is the Oris Big Crown ProPilot X Calibre 115, the most Oris watch we’ve ever made – every watch that went before it has led us to this point.

It’s inspired by nature, particularly by the Waldenburg Valley, which surrounds the village of Hölstein, where Oris has been based since it was founded in 1904. It’s a reflection of contemporary culture, too, and of our growing desire for authentic experiences. And it’s a watch that explains Oris’s true personality. The idea started with the movement.

Oris, an independent company, only makes mechanical watches. Everything in the watch stemmed from its mechanical heartbeat. For our 110th anniversary, we introduced Oris Calibre 110, a limited edition watch with an in-house developed a movement that carried a 10-day power reserve, a patented non-linear power reserve indicator and a small seconds.

This innovative, unique combination of complications became the base architecture for a suite of landmark calibres that followed, through to Calibre 114, launched last year. Together, these calibres have become the symbol of Oris the movement creator. Since the company was founded, it has introduced more than 270 in-house calibres, a proud legacy.

Oris Big Crown ProPilot X Calibre 115

“People are longing for the time when they could understand how things work”

For the Big Crown ProPilot X Calibre 115, Oris’s watchmakers took the spirit of Calibre 110 and imagined a fully skeletonised Oris movement. Traditionally, skeletonisation provided a window for a watchmaker’s talents, but this movement had higher ambitions. It had to reconnect people to how things work.

That’s what makes contemporary modernism so interesting. People are longing for the time when they could understand how things work.

The Big Crown ProPilot X Calibre 115 lays bare its inner workings. Nothing is hidden. Even the barrel at 12 o’clock is skeletonised so you can see the extended mainspring. Winding the crown, you watch on as the mainspring coils tighter… and tighter… until it’s fully wound and ready to deliver 10 days of uninterrupted power.

Nothing deflects from this. There is no varnish, no unnecessary decoration. Calibre 115’s skeletonised bridges are matt grey, rather than polished or engraved.

Look at the movement under a loupe and you will see the edges have not been chamfered or bevelled. Instead, they have been left in their natural state. There is nothing obscuring the essence of traditional Swiss watchmaking. It is, if you will, as nature intended.

Oris Big Crown ProPilot X Calibre 115

Not that it’s old-fashioned. Inspired by the striking aesthetic of the movement, Oris’s designers created a bold, dynamic case that captured both the company’s pilot’s watch history – which began in the early 1910s and took off with a pilot’s wristwatch with a ‘big crown’ in 1917 – and the future relevance of mechanical watchmaking. It is not shy to tell its story.

The resulting brushed titanium case is equally honest. Fundamentally, its design is descended from that 1938 original, supplemented by the jet engine turbine blade motif introduced into the Big Crown ProPilot’s bezel only a few years ago. It’s based on a traditional concept, but future-driven. It’s muscular and assured. It shows Oris’s watchmaking competence and its confidence as the Swiss watch industry prepares for a new decade.

It also explains the evolution of luxury. Luxury is no longer showy or indulgent. It’s now about appreciation of quality, time and space. At Oris, we call it casual luxury, which isn’t forced or inconsiderate. It’s measured and informed. It’s authentic. That’s why there are no unnecessary details in the watch. No flashy colour palette. No pointless complications. It’s essential. It’s crafted. It’s alive.

Oris Big Crown ProPilot X Calibre 115

Who is the Big Crown ProPilot X Calibre 115 for? The wearer of this watch is on an adventure of discovery. They want to learn more about the world and themselves. They want access to a new level of understanding. That’s what it means to go your own way.

And that’s why we say that the Oris Big Crown ProPilot X Calibre 115 is as nature intended. It is pure Oris.

The Oris Big Crown ProPilot X Calibre 115 is available now. For more information, visit oris.ch

Oris Big Crown ProPilot X Calibre 115

In detail – Oris Big Crown ProPilot X Calibre 115

The Oris Big Crown ProPilot X Calibre 115 is a pure expression of Swiss mechanical watchmaking

The movement The movement was conceived by Oris’s in-house watchmakers and designed to reveal how a mechanical watch works.

Skeletonisation Skeletonisation is the process of removing the dial and hollowing out movement parts so you can see a watch’s inner workings.

Functionality Calibre 115 is hand-wound. It has a 10-day power reserve, a non-linear power reserve indicator and a small seconds.

How it works The Oris-patented non-linear power reserve indicator shows the power remaining with ever greater accuracy as it runs down.

The case The watch’s 44.00 mm case is made of titanium. The high-tech material is lightweight, durable and hypoallergenic.

Development The concept behind Calibre 115 was born a long time ago. The watch then took two years to develop and deliver.

Inspiration The design team were inspired by culture, architecture, aviation and nature in the Waldenburg Valley that surrounds Oris.

A modern watch It’s a pilot’s watch, and the first Oris has made without numerals on the dial. But it’s first a modern take on luxury.

At the appointed hour

Oris has had the watchmaking expertise to create Calibre 115 for years, says the company’s Chief Operating Officer Beat Fischli. But it’s only now the timing is right

Oris Chief Operating Officer Beat Fischli

When did you get the idea for the Oris Big Crown ProPilot Calibre 115? The truth is it’s been in my head for years. Skeletonisation is such an exciting form. You really get to see all the details. And you get to show what you can do. But until now, it just wasn’t the right time.

What changed? We’ve been building towards this moment. We’ve known for a long time that we had the know-how in-house. Calibres 110 to 114, each unique, gave us confidence, because they were so well received. Each time, we learned new things, and each time people started to understand more about Oris as a watchmaker. We have the freedom to create watches our customers want and that we like, because we’re independent. After these developments, we felt ready to produce and release a high-concept piece that would show the world on another level who Oris really is.

How did you go about developing it? The process was more complex than usual, because when you skeletonise a movement, you have so many more questions. We knew the base calibre worked, because there are five versions of it already out there. But when you start taking out material you have to ask whether the construction is stable. It might look nice, but will it actually work?

How did the relationship between the technical and design teams work? It was a collaboration. One hundred percent. But someone has to start. The first step was technical – to work on functionality, to lay out the movement and to make sure it was feasible. The second was to send all our findings to the design team. They shaped the idea into something truly beautiful. After that, we verified it would have the integrity it needs to work reliably. Of course, there was some back and forth during this process, but essentially, those were the three steps.

How long did it take? In total, around two years. Like I said, we knew we had the ability in-house to realise something this technical, so while it might be nice to say we faced lots of challenges, we really didn’t. The biggest challenge was simply finding the right time to launch a product like this. We’re confident that’s now.

What makes Calibre 115 special? It’s a major achievement. The watch is a masterpiece, a perfect synergy of design and technology. Previously, we had this incredible movement, but no one could really see how it worked. Now you can. You know a palace is beautiful inside, but until you actually walk through the door, you can’t be sure exactly how beautiful.

Is there something in the watch you’re most proud of? If I had to boil it down to one element, I’d say the mainspring. It gives the watch so much of its character, which changes depending on how much power is stored in it. Normally, the mainspring is hidden, even in many skeletonised watches, but we felt we had to show it because so much of the story of the watch is in its 10-day power reserve. Normally, a mechanical watch has around 40 hours of power reserve – this one has 240! What does the Big Crown ProPilot X

Calibre 115 say about Oris? In all the details, you see Oris’s expertise, our experience and what we’re able to do. And you see this in a very honest, pure, luxurious way. For Oris, watchmaking is about going your own way, doing something because you want to. We have the freedom to do this, and we believe it’s the right moment to do it. So we did it.

When everything comes together

Oris’s Senior Product Design Engineer Lukas Bühlmann on the process behind the Oris Big Crown ProPilot X Calibre 115

Oris’s Senior Product Design Engineer Lukas Bühlmann

What was the design brief behind the Big Crown ProPilot X Calibre 115? Ultimately, the brief was to propel Oris Aviation watches into the next generation. We made pilot’s watches for American servicemen in the Second World War. But what does a contemporary, luxury Oris pilot’s watch look like?

What were the biggest obstacles to delivering that brief? One of the hardest things was figuring out how to maintain the balance between the formal language of the case and the movement. In other words, how do you design a modern watch that is not a fashion watch? We wanted to create something contemporary that would retain its relevance as fashions change.

Where did you look for inspiration? Aviation and architecture. The idea behind the watch started with the movement, and we gave this a strong architectural look. The skeletonised barrel draws your eye first and then the bridges, and then you start seeing the detail in the wheels. The case is more like a stealth plane. There’s an exciting interplay between the movement and the static elements.

There’s a futuristic quality to the design – is that deliberate? I wouldn’t call it futuristic, but it is a future-driven design. Oris has a long pilot’s watch history and you can see that in the design, which is important. It also shows Oris’s competence, and the long-term value of a beautifully designed and manufactured mechanical object.

Do you think of this as a pilot’s watch? It’s certainly not a conventional pilot’s watch. For example, this is the first Oris pilot’s watch without any numerals on the dial. But the aviation DNA is still there in the details. We used titanium for the case, for example, because it’s very light. What really makes this a pilot’s watch is its technical look. Technology is the driving force behind aviation today.

What design considerations are there with a skeletonised watch? First and foremost is technical feasibility. This is a designer’s constant companion during the design process. The design and the functionality have to work together. Furthermore, you have to think on several levels at the same time, so that when all the components come together, you get the design you set out to create. Overall, because of these considerations, the job takes longer, too.

Sometimes, those considerations must create problems? Yes, of course. Sometimes you want to design something one way, but you quickly realise that it’s not technically feasible. It’s about adapting. The better you understand the design philosophy, the quicker you’ll find solutions.

What does this watch say about Oris’s take on luxury? The truth is that for Oris, luxury is about being able to go your own way. That’s why it’s our strapline. In practice, that means we design watches for people who ask questions and want to experience life and cultures. Our watches become faithful companions for life’s adventures. Wherever you go, your Oris watch will go with you.

What makes this a good design? The small details – every case facet, the way the bracelet integrates into the case, the decision to drop the numerals, the crown protection, the bridges, the turbine blade bezel, and so on. It’s the way these come together so that you don’t see them as small details, you see them as part of a whole that makes this design unique.

Do you work to the design mantra that ‘form follows function’? A watch should be meaningful and feature useful complications, and the appearance of the watch should reflect what it does. But form follows function is too rigid. Again, if ‘Go your own way’ is he philosophy, you can’t be bound by one set of rules…

What does the Big Crown ProPilot X Calibre 115 say about Oris design? I think it says two things. It says we’re not afraid to push boundaries. And also that we’re good at combining talents. A team of 10 people were involved in the design of the movement, case and bracelet. Like the watch, many small parts came together to create something heroic. We’re all really proud of the result.

Big Crown ProPilot X Calibre 115

Oris’s latest watch powered by an in-house developed calibre is a landmark design. The skeletonised Calibre 115 movement opens up the 10-day power reserve and non-linear power reserve indicator to reveal how they work. It’s a contemporary take on luxury that highlights the eternal value of a beautifully crafted Swiss Made mechanical watch.

Oris Movement Calibre 115

In detail

Case

Multi-piece titanium case

Size 44.00 mm (1.732 inches)

Dial Skeletonised

Luminous material Hands and indices filled with Super-LumiNova®

Top glass Sapphire, domed on both sides, double-sided anti-reflective coating

Case back Titanium, screwed, see-through sapphire glass

Operating devices Titanium screw-in security crown

Strap/bracelet Multi-piece titanium bracelet with ‘lift’ clasp; black leather strap with titanium ‘lift’ clasp

Water-resistance 10 bar (100 m)

Movement

Number Calibre 115 (skeletonised)

Functions Centre hands for hours and minutes, small seconds between 7 and 8 o’clock, non-linear power reserve indicator at 3 o’clock, fine timing and stop-second devices

Winding Hand-wound

Power reserve 240 hours

Price CHF 6,800/7,200 (strap/bracelet)

Presented in a special luxury wooden box (see above)

How it works

Oris’s Big Crown ProPilot X Calibre 115 is fuelled by a highly complicated in-house developed movement that showcases the watch’s complications.

Power play Calibre 115 is a hand-wound movement operated through the watch’s single crown.

Oris Big Crown ProPilot X Calibre 115

When fully wound, the movement will deliver 10 days of power – most mechanical watches run for around two days. This exceptional, 240-hour power reserve is fuelled by a mainspring coiled in a single oversized barrel, visible at 12 o’clock. The power reserve is displayed through an Oris-developed and patented non-linear power reserve indicator at 3 o’clock that shows the power remaining with ever greater accuracy as the time to wind the watch approaches.

The secret’s out

This unique, Oris-patented non-linear power reserve indicator is managed by a ‘worm-gear’, an exclusive Oris innovation found in Oris’s series of in-house developed calibres. This clever mechanical device controls the speed at which the power reserve indicator moves around the subdial at 3 o’clock.

Big Crown ProPilot X Calibre 115

Oris Big Crown ProPilot X

Oris Big Crown ProPilot X Calibre 115

Oris Movement Calibre 115

Oris Big Crown ProPilot X Calibre 115

Oris Chief Operating Officer Beat Fischli

Oris’s Senior Product Design Engineer Lukas Bühlmann

Big Crown ProPilot X Calibre 115 A watch for all time - The Big Crown ProPilot X Calibre 115 lays bare Oris’s historic watchmaking roots.

#Big Crown ProPilot X #Big Crown ProPilot X Calibre 115 #Calibre 115 #news #Oris Big Crown #Oris Big Crown ProPilot X Calibre 115 #press releasse

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parryw · 7 years ago

Text

Questioning Temporality Within Procedural Based Computer Music.

This paper is an exploration into temporal topics that arise through the creation, archiving and experiencing of procedural-based computer music composition. The project will be using Jem Finer’s Longplayer as a case study in which to extract and analyse these concepts from a computer musicians perspective. Longplayer is ‘a one thousand year long composition’ and sonified piece of sound artwork conceptualised by Jem Finer and commissioned by Artangel. The piece began playing at midnight 31/12/1999, and was set to “play without repetition until the last moment of 2999”. Longplayer uses “simple and precise rules”[9] to determine the output of the composition and is composed for 234 Tibetan singing bowls . Longplayer is currently installed in the lighthouse at Trinity Buoy Wharf in London and is broadcast to ‘listening posts’ in Yorkshire Sculpture Park (UK), Kings Place (UK) and The Long by Now Foundation Museum (USA).[8]

Creation

To understand where and how Longplayer was created in relation to time, it is necessary to have an understanding of where it was situated socially within its contemporary during the time of its creation. Prior to the creation of Longplayer (between October 1995 and December 1999) there had been a broad mix of rule and procedural-based artworks, ranging from early tools of ‘pre-digital’ art such as The Canon, through to Schoenburgs twelve-tone Serialism and later experimental works of John Cage and arguably that of the Fluxus Movement through their restrained improvisation approach to creating its ‘Happenings’[7]. The entry of the personal computer created a domain for increased efficiency in calculating, sonifying and visualising procedural-based works, and and made space for the creation of art-programming softwares such as superCollider, Processing and MaxMSP. The creation of these softwares lead to a new turn of artworks such as Longplayer and other works ranging from fixed multi-media artworks such as Brian Eno’s Bloom, to the new movement of live-algorithmic composition events such as Alograve. The term algorithmic composition umbrellas three main systematic approaches to composition, a ‘Stochastic’ , a deterministic rule-based, and the artificially ‘intelligent’ system.[11]

It is common for the non-algorithmic composer to create a composition, from start to finish, and sometimes follow a standard of musical form (such as ABA). The non-algorithmic composer, during the time of creation has the ability to stack their musical phrases like building blocks, writing notes with an almost ‘stream of consciousness’ approach and ‘penciling out’ blemishes. Alternatively the rule-based algorithmic computer musician relies on forming a set of rules into an executable procedure used to perform a piece of music, the composer now has to adopt a form of ‘algorithmic thinking’ in order to create this music. It’s this ‘algorithmic thinking’ that provokes a questioning of time and the composers intentions for their composition, as the algorithm itself in static form, is unrepresentative of the piece that it will perform. It is the need for time or the composers ‘future visioning’ for the piece to reveal it’s intended effect unlike the non-algorithmic composers visually mapped musical score. The concept of the rule-based composition reinforces musics dependency on time, not only as a physical requirement for the sonification of a piece, or for a macro perceptive of a composition, but for the building of a composition with a complete relevance and connection to a start point, unlike a composition built on a collage of musical phrases or a humanly non-complete deterministic algorithmic process such as a stochastic[6], or AI approach[5].

When uncertainty is applied to algorithmic composition it allows for a development of emergence over time, approaches to this theme have been explored by the use of bio-inspired computing techniques such as genetic algorithms[10], Cellular Automata and AI. The vast complexity of potential variables and the range of results when using these algorithms questions the balance of artistic creation and intervention vs computer agency. Using these ‘indeterministic’ algorithms the algorithmic composer can only ‘future vision’ the hard-coded aspects of the algorithm, and not fully for this emergence that these algorithms are designed for. Using this logic, the artists decision for an implementation of an emergent algorithm could be seen as a clear offering of creative agency for a resulting composition and challenges concepts surrounding the idea of authorship and creative ownership of an emergent composition. This concept appears clear to the Longplayer Trust, through their understanding of the value of the Longplayer algorithm, as on asking Sarah Davies (producer and administrator for Longplayer) if the piece was produced explicitly for singing bowls, she replied describing the piece soley as “... a particular instance of an algorithm”. [1]

Experiencing

Non-deterministic algorithmic approaches to composing like the stochastic and AI methods add an element of ‘randomness’ into their system. Due to this randomness, on experience of these compositions, uncertainty is almost a key attribute to the overall aesthetic of the compositions and is often executed timbrally using traditionally one type of harmonious instrument like Longplayers singing bowls, or Iannis Xenakis’ ‘Pléiades’ vibraphones and xylophones. This allows for a focus on this uncertainty for an emerging aesthetic without listening fatigue. Comparing this to a deterministic form of algorithmic art such as the fractal where a clear structure is perceived, the composition has room to allow for complexities (like a fractals broad use of color) to be added to the overall composition with clear structure. It’s these constraints and complexities that are of an integral part of an artists creative process[1], and allow for artistic specificity and a compositions identity.

“The notion of structure implies something recoverable, in the sense that it is possible to look at an end result and determine the structures that generate it.”[2] Longplayer challenges this idea, as although itself is deterministic, it will not provide evident structure upon human listening, as the algorithm takes far longer to unfold than human life, and therefore will not reveal it’s full structure until it has completed its 1000 year cycle. Longplayers algorithm implements a series of six ‘cycled’ compositions, each taking a different amount of time to complete, the shortest cycle is 3.7 days, with this in mind, part structure could be considered to uncover over the space of two of these 3.7 day cycles revealing repetition, but the nature of the Longplayer algorithm makes this repetition incomprehensible through the implementation of the further five cycles, these being an a form of modification to the perceived composition.

On experience of Longplayer, the listener is subjected to a microscopic section of the composition in relevance to its whole, leaving for only a part reflection of the piece. This could be comparably seen as a play on Fereneyhoughs suggestion of music and its ontological positioning, whereby “...the listening subject at moments “stands apart” and consciousness is engaged in an act of scanning and measuring outside of the immediate flow”[4]. In temporal relevance to Longplayer, an immediate flow could be seen to be the listeners receipt of the composition in part, and the scanning as a reflection of the piece. Upon scaling the length of Longplayer to an average composition time of 10 minutes, 1 second of ‘Longplayer time’ becomes 0.000000002 seconds of the 10 minute composition.1Veit Erlman describes the conclusion of early physician Hermann von Helmholtz search for audio perception that “... body and mind do not simply operate within a given spatial and temporal matrix, they are that matrix.”[3] This concept could, in a distorted poetic way, help emphasise the vastness of ‘Longplayer time’ in relativity to our own, in that a 10 minute bodily perception of the composition is only a grain of its complete. Xenakis explores this topic of micro sound perception, through his creation of granular synthesis. Comparing these concepts in this way, helps to uncover the almost egotistic element of mystery when trying to comprehend music time space in perception and beyond human life.

1Rough workings:

(600 Seconds = 10 Minutes) / (1000 Years = 315576000000 seconds) = 0.000000002

Archiving

Through its use of rule-based composition creating a piece of music that was intended to last one thousand years, Longplayer questions the notion of the human, social, computing and materiality finite. To question the idea of this finite, one must look into levels of decay amongst these paradigms to set a threshold of its obsolete. Whilst trying to determine a threshold of decay amongst humanistic qualities, like the existence of the concept of this piece could harbor a lengthy and potentially arbitrary conclusion, there is still room to explore the potential decay of Longplayers current materials and its strategies for sustainability during its one thousand year cycle. The Longplayer Trust has been established as an approach to collaborative responsibility to prevent this decay and to provide a support for the sustainability of its first 1000 year duration. On observation of Longplayers current installation, there are two essential elements to synthesise this (and many other) artworks (the original artistic concept behind the piece and the physical materials needed for the installation of the piece).

Regarding Longplayer as “… a particular instance of an algorithm”[1]. Longplayers algorithm is currently implemented through superCollider code, with this in mind and the succinct nature of the computer code, there is no doubt that if there was any damage to Longplayers superCollider code, or executable file it would be rendered unplayable and potentially obsolete. In order to reduce this risk the original superCollider code is published on the Longplayer website, spreading responsibility communally for the code further than the trust. On the website there are also thoughts on materialising the code into “… alternative methods of performance, including mechanical, non-electrical and human-operated versions”.[8]

The idea of Longplayer adapting to its time in order to secure its survival is an interesting concept due to the vast temporal space given for the piece, as it opens up for many future implementations and mutations of the piece, living past its original designer and potentially past human existence. With this in mind Longplayer could be regarded as a new form of neo-futuristic dialogical art, whereby the exchange of Longplayer between present and future generations is of as much importance as it’s initial implication at the turn of the new millennial. To assist in the security of the concept for the piece The Longplayer Trust website has extensive information of the ‘conceptual background’ of Longplayer including notes contributed by Jem Finer and Micheal Morris (Co-director of Artangel). The website also includes letters from thinkers and writers discussing concepts surrounding Longplayer and its existence. The Longplayer Trust also hold frequent events such as ‘The Artangel Longplayer Conversations’, where key thinkers and famous practitioners gather to discuss socio-temporal topics, these conversations are archived and publicised on youtube, and created as “...a good chance to connect interested people to the artwork and talk about its themes. And ...are also a way to find donors who will pay towards its ongoing upkeep.”[2]

Digital

Musics sole dependency on time has helped spark a wide range of philosophical thinking around sound and time perception. Musics implementation of the algorithm has played a large part in revealing aspects of these topics, and digital implementations have made these methods more accessible and in turn helped develop new forms of music composition and publishing such as ‘generative art apps’ and live ‘algorave’. When music is performed by digital means, a new aspect of sound time perception is added, as for a sound to be recorded or reproduced digitally it has to be sampled in computer time. As this typically is at a rate faster than the understood human perception of 20kHz it allows for a insight into grains of unperceived sound. Experimenting with these concepts in my own work ‘grains’ has helped to further expose concepts surrounding sound perception and authorship in music. grains is a deterministic algortihmic composition that has the potential to last roughly a week ‘without repetition’ using 13 seconds of 24 bit audio.Grains uses Xennakis’ technique of granular synthesis as the main form of sonification for the piece and uses a combination of three values to to determine the shape of the grain, the frequency in which it is cycled and the timing and length of the audible grain. Grains uses a 13 second sample from the Andrew Oldham Orchestra’s cover of The Rolling Stones’ “Last Time’’ a piece that famously caused a large dispute over copy-write infringement in the Verve’s use of sampling in their ‘Bitter Sweet Symphony’. The use of this sample again provokes a questioning of authorship of ‘grains’ in that it is using all audible parts of the sample, but is arranged to avert perception of the original sample. The sample itself is also the means to compositional structure, using sample value data to determine pitch, timing and timbre. The intention of Grains was to challenge concepts of music sampling and audio perception and de-localise compositional authorship. Creating a 1 week long composition using 13 seconds of audio, like Longplayer, will never be experienced as its whole, nor will it’s its input sample be audibly recognisable through granular synthesis. Grains implementation of such a simple algorithm, with a perspectively small input source, could be seen to be a form of deterministic composition with a complete algorithmic agency, as it’s input is taken beyond it’s intended perspective.

Bibliography and References

[0]Candy, L Constraints and Creativity in the Digital Arts. [Journal] LEONARDO, Vol. 40, No. 4, pp. 366-367, 2007

[1]Davies, S, The Longplayer Trust [personal emailed interview] (7/3/2018).

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