Arts: Creative Works
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Item Open Access Pilgrimage to Gallipoli(Chris Cree Brown, 2009) Cree Brown, C.Pilgimage to Gallipoli is a radiophonic work that is an attempt to express something of the experience of attending the ANZAC day commemoration at ANZAC cove in Turkey.Item Open Access Naive Melody(2013) Pohio N; Win, HamishItem Open Access The stars are out of service…..until further notice(2014) Cooper GWSpoken word poem. Performed at the Caribbean Philosophical Association Conference, Quintana Roo, Mexico, 2015.Item Open Access Seven Tragedies of Sophocles - Antigone(2014-10-10) Bond, RobinVerse translation of Sophocles' tragedy AntigoneItem Open Access The Blue-Grey Wall: (Corpore)oceanographies(2015) Harrington EJThis critical, research-supported article was published in conjunction with the online documentation of the exhibition 'The Blue Grey Wall' at the Physics Room as a commentary on and response to the workItem Open Access A Transitional Imaginary: Space, Network and Memory in Christchurch(Harvest (in collaboration with Aotearoa Digital Arts), 2015) Ballard S; Benson T; Carter R; Corballis T; Joyce Z; Moore H; Priest J; Smith VA Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.Item Open Access Ex Tenebris Lux (Symphony no.3)(Christchurch School’s Music Festival Association, 2015) Shepherd, PatrickItem Open Access Seven Tragedies of Sophocles - Electra(2015-05-25) Bond, RobinVerse translation of Sophocles' tragedy ElectraItem Open Access Seven Tragedies of Sophocles - Ajax(2015-05-25) Bond, RobinVerse translation of Sophocles' tragedy AjaxItem Open Access Seven Tragedies of Sophocles - Oedipus the King(2015-05-25) Bond, RobinVerse translation of Sophocles' tragedy Oedipus the KingItem Open Access Seven Tragedies of Sophocles - Women of Trachis(2015-05-25) Bond, RobinVerse translation of Sophocles' tragedy The Women of TrachisItem Open Access Seven Tragedies of Sophocles - Oepidus at Colonus(2015-06-11) Bond, RobinVerse translation of Sophocles' Oedipus at ColonusItem Open Access The Oresteia of Aeschylus - The Libation Bearers(2015-06-12) Bond, RobinVerse translation of Aeschylus' Libation BearersItem Open Access The Oresteia of Aeschylus - Agamemnon(2015-06-12) Bond, RobinVerse translation of Aeschylus' AgamemnonItem Open Access Seven Tragedies of Sophocles - Philoctetes(2015-06-12) Bond, RobinVerse translation of Sophocles' PhiloctetesItem Open Access The Oresteia of Aeschylus - Eumenides(2015-06-12) Bond, RobinVerse translation of Aeschylus' EumenidesItem Open Access Review: The Capetian Century, 1214 to 1314, ed. by W. C. Jordan and J. R. Phillips (Turnhout: Brepols, 2017)(ANZAMEMS, 2018) Jones CNThis collection originates in a conference held at Princeton in 2014 to mark two anniversaries in French history: the famous Battle of Bouvines and the death, a century later, of King Philip IV. As William Chester Jordan explains, the intention of the volume’s four sections is ‘fleshing out’ the existing narrative alongside further ‘interrogation’ of what has been labelled by some the âge d’or capétien (pp. xi–xii).Item Open Access Involution : For Flute, Erbane, Live Electronics : Score in C(2018) De Lautour RInvolution is an attempt to fuse two very different sound worlds: that of the Kurdish Erbane (a type of traditional frame drum fitted with metallic rings), and concert Flute. In order to tease out the timbral character of the Erbane and avoid the obvious musical expectations of combining a western melodic instrument with a non-western rhythmic one, the normal roles of the two instruments are reversed: The flute plays a series of percussive gestures inspired by the rhythms and playing techniques of the Erbane, while the Erbane takes on a melodic role that emphasises its inherent resonances. Extended playing techniques enhanced by realtime harmonisation and granulation produce a series of harmonic and melodic figures that extent and blur the spectral boundaries between the two instruments.Item Open Access The Bridge of a Single Hair(2018) De Lautour, R.Item Open Access Nihavend Peşrev(2019) De Lautour RI began composing this work in June 2018 as the result of a collaboration with Cellist Yelda Özgen Öztürk and Kemençe player Neva Özgen. Using recordings of the duo performing a traditional Ottoman work as material, I created an electronic piece intended as an overlapping postlude to their performance. Most of the harmonic material is based on the Nihavend Makamı, while the dynamic swells and gradations were inspired by the expressive articulations of Kemençe playing. This version of Nihavend was performed at Arter gallery in Istanbul on June 23rd 2018. The work was substantially revised in 2019 and the new version premiered at The Multivalent Voice conference, Istanbul Technical University, Friday April 12th 2019.