Tuesday, August 23, 2011

"Well, yes," says Sulston, "but DNA gives the instructions for making a baby, not an adult. There's a lot more to me than DNA."

The collaboration came about when Quinn was from the National Portrait Gallery commissioned with the support of the Wellcome Trust to do Sulston 's portrait on. "John did all the work," says Quinn. The artist, at least, chose the portrait 's frame. "People can be surrounded in the reflective, is highlighted in the that we connected 're all - one of the great messages of the Human Genome Project.

"Because it 's true, isn' t it true that our DNA is 90% the same as banana '?" Asked Quinn. "Well, no, actually it 's more like 50%," says Sulston, who won the Nobel Prize in 2002. "Our DNA is about 90% the same as other mammals \." Our objective connection with everything else, not only our world but in the universe, clearly appeals to Quinn: no wonder his iris painting subtitled from the 2009's, we share our chemistry with the Stars.

Filled in Quinn 's most famous work, Self (1991), he made a sculpture from a mold of his head with nine liters of his own frozen blood. It is carefully kept in a cooling unit, and reminds us of the fragility of being. Every five years since 1991, he replaced what he a 'frozen moment' alive with a new transfusion of his own blood. He calls it an ongoing project, while the portrait Sulston is interrupted in time forever, even the Nobel Prize winner dies, there is something in this picture of him get a code from which he could possibly be cloned.

The poet and the speech scientist

"I once heard someone say," His mother was a crab, '"says Valerie Hazan, professor of linguistics at University College London." Can a situation where that would be used? I often ask my students this. "

When Mary Morrell and Catherine Yass collaborated on a project called Waking Dream, each hoped to unravel what, if anything, essentially happens in the transition from sleep to wakefulness. Physiologist Morrell, now professor of sleep and respiratory physiology at the National Heart and Lung Institute, Imperial College London, wanted to give a scientific account of that transition.

"I was inspired by your attitude," says Yass. "I came with a tentative idea and you would say, 'This is how you can do it.'" Could Yass imagine having been a scientist? "I used to think about being a brain surgeon, but I wouldn't trust myself in a million years. In terms of science, I've always been daunted by the amount of knowledge a scientist needs, but I love the idea that there's a lot of knowledge and someone like Mary has it."

"If you hear a recording of someone whispering in your ear," says theatre director David Rosenberg, "you can convince yourself you felt their breath."

The supplied headphones binaural recordings of every spectator 's ear. Rosenberg, together with sound designer and composer Max and Ben Ringham, a complete score made up not only the music, but of everyday sounds. Soft noises were heard to thrilling audiences near 'ears: A woman pulls a robe after a swim, the plumping a pillow. The illusory effect was that the individual viewer, far from being in a crowd of other spectators, was in the room with them. While these noises sounded like they were would take place on the stage, in reality, they were part of a pre-recorded soundtrack for the dancer 'choreographed moves were installed.

What does mean binaural? "It 's two ears to hear, and involves the extraction of information you couldn' t have one by ear," says McAlpine. "There are binaural recordings with two microphones at a reasonable distance from each other in a dummy head used to try to reproduce the effects of normal hearing," says Rosenberg.

McAlpine, recalls the sophisticated binaural illusion that he had ever heard. "I was with Dolby 's headquarters in San Francisco. You sit up on headphones, close your eyes and you hear' re on an airplane, and you plunge into the ocean. I really felt a sense of the whoosh water and the feeling of up to a sandy beach. The sensations were filling my brain in the experience of what is heard. "

Rosenberg says a key moment of the electric-hotel was another illusion. "The sound moves into the audience and the audience was confused about whether what they 're hearing was part of the actual performance or the audience around them."

It sounds like the sound application of Brechtian alienation technique. Is it? "Totally. It was very important in a show that is essentially that you are alone with the performer, and then suddenly you have a moment when you realize the audience around you."


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