The Harold C. Ernst Collection of Portable Sundials

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

Frictionless universal joint Patent

Universal joints for connecting two displaced shafts or member

Indefatigable

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

Linear kinematic air bearing

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

The effect of bundled sticks on sound

A short composition for bassoon and FX pedals. The Effect of Bundled Sticks on Sound Programme Note: “if something has an interesting enough sound, you don’t have to play as much on the instrument … the sound takes over… [It’s] part of the composition.” – Marcus Miller This piece was originally written as a sonic exploration of the bassoon – but to move beyond the repertoire for acoustic solo bassoon, and to extend the sound world of the instrument by including a microphone and FX pedals. The main motif is constructed from two fragments: a rising tone, and a falling 7th then 6th . These fragments are rearranged, reversed, stretched and manipulated throughout the piece. Also, of particular interest to the listener, the influence of funk and blues music should be quite clear throughout the piece. But at its essence this piece is an exploration of sound

There's not enough walrus in it

A short composition for solo bassoon. World Premiere - This new work for solo bassoonist is inspired by a moment of sleep-talk/nighttime delirium with Jeremy’s son Wolfgang. Performed by Ben Hoadle

FILM, ARCHIVE AND MUSIC LAB

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

A nauseous lament

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