Item Open AccessNihavend 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. Item Open AccessInvolution : 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 AccessIn Bloom(2020) Carr SIn Bloom was developed by Steve Carr while on residency at McCahon House in French Bay, West Auckland. The bronze-cast tyres and living floral arrangements present a contrast in materials, offering a moment of reflection on states of permanence and change. Situated in pedestrian-friendly Takutai Square, the bronze tyres reframe the high-density traffic that surrounds the site by acting as a vessel for new life and seasonal growth. Carr’s previous works in film, photography, and sculpture have often explored themes of time and transformation. In Bloom continues this artistic investigation. Rubber becomes bronze, nurtured by its new environment. As the planting grows, the work will change and evolve with the passing of time. Item Open AccessGlass Ephemera(2020) De Latour, ReubenGlass Ephemera is scored for piano and live interactive electronic sounds. The work explores the connection between sonic resonance and memory. The musical material is derived from a physical object made of glass, which for the composer carries with it its own history and personal associations. The spectral properties of the object when percussed are mapped to musical pitches and various electronic sounds. The electronic textures function as symbolic echoes or reverberations of the musical material produced by the piano. Item Open AccessEchoes of the Inveigled(2019) De Latour, ReubenEchoes of the Inveigled is based on a fragment from a field recording of a street demonstration in Istanbul's Istiklal Caddesi. The sonic features of the protest include a group of traditional drummers playing a frenzied looped pattern, while other protestors shout, whistle, and sing. These sounds were filtered and transformed by the acoustic characteristics of the space where the demonstration took place: a long, narrow street bounded on both sides by office buildings and shops. It was one of the most overpowering sounds I have ever heard produced by humans. In this work I chose a short segment of the recording with some particularly forceful drumming. I wanted to explore the idea of what this moment might sound like in slow motion; and since the ear is naturally attracted to the powerful drum sounds, I also wondered what else might be hidden in between them. The segment of the recording that was used is about eighteen seconds long and contains thirty five individual drum strikes. I stretched and segmented these strikes into a longer non-metrical sequence lasting about eleven minutes, and then re-invented and elaborated the spaces between them; not a literal stretching out but a reinterpretation based on my memory of being in the thick of that moment. As I began to dig into the spaces between the colossal impacts of each drum hit, other half remembered sounds emerged: frozen screams, ghostly choirs, shattered whistles, the crackle and static of thousands of cellular phones, the roar of heavy police vehicles. Item Open AccessReview: 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 AccessThe 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 AccessA 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.