School of Art, Design and Architecture
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Item Open Access Message from a grand old man(Design Council, 1980-05) Woudhuysen, JamesInterview with the founder of the industrial design profession – when he was 87Item Open Access Nick Butler: the product designer as anti hero(Blueprint, 1984-04) Woudhuysen, JamesNick Butler died in early 2012. Here, in a rare and relatively early interview, he explains why, despite being one of Britain’s most successful 20th century designers, he kept a low profileItem Open Access David King: graphic designer, ranged left(Blueprint, 1984-11) Woudhuysen, JamesWhen once he art-edited the Sunday Times colour supplement, David King brought picture after picture of Leon Trotsky to the breakfast-tables of Britain. This was his first ever major interviewItem Open Access FHK Henrion: graphics as propaganda in World War II(Blueprint, 1986) Woudhuysen, JamesIn the 1940s FHK Henrion did some of the world's most passionate posters; in the 1960s, he helped create the face of post-war Britain. This interview, done four years before his death, surveys his brilliant careerItem Open Access The apostle of Cool(Blueprint, 1987) Woudhuysen, JamesInterview with Dieter Rams, the crusading German designer of Braun products and much besidesItem Open Access Bass profundo(Design Week, 1989-09-22) Woudhuysen, JamesInterview with Saul Bass (1920 –1996), one of America's very top post-war graphic designersItem Open Access Hess is more(Design Week, 1989-11-03) Woudhuysen, JamesInterview with the late Dick Hess, co-inventor of Paint By Numbers and one of the 20th century's greatest illustrators and graphic designersItem Open Access Straddling both art and design: an interview with Milton Glaser(Design Week, 1990-04-20) Woudhuysen, JamesMilt Glaser put Bob Dylan in silhouette on a memorable poster (1967), and designed the red-hearted I Love NY logo (1975). Here he talks about his workItem Open Access The extended environment.(International Computer Music Association, 1994) Young, JohnThe potential in electroacoustic music to amalgamate sounds of natural real-world sources with the powerful signal processing and synthesis offered by computers makes possible interplay between different levels of sonic "reality" and "abstraction". A range of works is discussed in terms of this reality-abstraction continuum, suggesting ways in which articulation of the continuum, through mediation and juxtaposition, offers useful levels of structural interpretation in electroacoustic music.Item Open Access Rudolf Laban and the ‘Yorkshire Connection’(Yorkshire Movement and Dance, 1995) Burt, Ramsay, 1953-A discussion of the early German modern dance pioneer Rudolf Laban's work in Laban in the 1940s and 50s in developing dance teaching in the the region.Item Metadata only Imagining the source: The interplay of realism and abstraction in electroacoustic music.(1996) Young, JohnThis paper examines ways in which composers of electroacoustic music can create virtual and surreal sound worlds through: (1) the combination of recognisable sound events which may not normally coexist in physical Reality, and (2) distinctions between sounds of recognisable real-world origin and processed or synthetic sounds which appear disassociated from known physical contexts, thereby setting up a continuum between Reality and abstraction. These procedures are evaluated for their potential to evoke metaphorical meanings, by representing the simultaneous presence of the immediate physical world and more imaginatively defined “interior” one. The discussion includes analytical commentary on works by Wishart, Smalley, Dhomont, Truax, Cousins, Parmegiani and Lejeune.Item Open Access Risky business(Demos, 1996) Woudhuysen, JamesToday nearly every workplace boasts codes of business ethics. But as far back as 1995/6, it was clear that ethics were a symptom of a wider aversion to riskItem Metadata only Inner(Empreintes Digitales, 1996) Young, JohnInner extends out of the sound and sensation of human breath — from a visceral and magnified perspective. The starting point was concentrated listening to some straightforward electroacoustic transformations of breath sound. Because the spectrum of the sound is rich and noisy, as well as capable of being articulated with seemingly infinite variety, it felt almost as though a whole world of new sound identities might be heard ‘within’ a single breath sound itself. So following that idea I tried to draw attention to the way vowel-like colourations and the rhythmic contours of the breath can be developed and related across a range of noise-based gestures and textures. In seeking to anchor the sound transformations against recognizable sound, the gesture of the opening intake of breath became a key figure, hinting at a surface of realism during some of the more abstract extensions of the material. But perhaps one of the most important motivations for me as composer was the innate potential of the electroacoustic medium to exaggerate the apparent physical scale and presence of such a very intimate and personal sound. Along with Virtual, and Time, Motion and Memory, this work forms an integrated sequence of three electroacoustic works exploring movement between sound sources which are ‘internal’ and ‘external’ to human sensibility.Item Metadata only Time, Motion and Memory(Empreintes Digitales, Montréal, 1997) Young, JohnA swing was one of my favourite childhood playthings. Its gentle motion and plaintive sound opened for me a very intimate world of contemplation, fantasy and imagination. This piece could be thought of as a sonic environment in which transformations of the swing’s sound trigger dream-like associations and surrealistic juxtapositions of sound-images — where the co-existence of many sonic references might mirror the imagination’s freedom to form unusual and tenuously sketched connections. While the swing remains relatively ‘fixed’ in space, other environmentally based sounds cut across its presence, and the swing itself is gradually transformed towards the sound image of a giant pendulum.Item Metadata only Virtual(Empreintes Digitales, Montréal, 1997) Young, JohnVirtual attempts to convey the idea of an illusory soundscape set in vibrant motion by the wind — an invisible and capricious source of energy for the ‘virtual’ objects in the space, the exact nature of which we are left to imagine. This idea extended partly out of my fascination with the process of making field recordings in the natural environment, where the wind is typically regarded as a pervasive and problematic intruder. But, in fact, the wind is often a part of the sonic signature of a place (especially in the notoriously windy city I was living in when I composed this piece). So I set out to record wind ‘noise’ trying to take advantage of the very active stereo play it produces across a pair of microphones (just as it does across our ear canals). Other sound identities were designed around this idea, mostly derived from turbulent air streams and tube resonances. I also attempted to give some of these complex sound shapes something of the spectral coloration of human vocal resonance, in an attempt to set up a sense of inanimate sounds taking on more animate behaviour. Linked to this are some characteristic patterns of spatial morphology within which these sounds evolve and transform.Item Metadata only The Lives of the Jain Elders(Oxford, 1998) Fynes, Richard; HemacandraItem Metadata only Liquid Sky(Empreintes Digitales, 1998) Young, JohnThis work is an exploration of the sound-image of rain. In many ways, I felt the process of composing this piece to be one of revealing and expanding the myriad patterns and colors within the sound, normally noticeable only with very concentrated listening. Since I work exclusively with my own environmental recordings, I tend to see the compositional process as opening out of the richness of the act of listening itself, supported by the imaginative associations for which it can be a catalyst. Like many environmental sources, the sound of rain is extremely varied and, at least in theory, covers a whole range of morphologies from the individual droplet to saturated granular noise. In collecting source material I made numerous field recordings in different locations focusing on the sound of rain falling on different objects — such as leaves, windows and puddles — since it was clear that the variety of sound colors inherent in rain is largely defined by the nature of the surface it falls upon. In processing these sounds, I tried to think about these distinctions: the ‘granular’ aspect tending towards long-term development of texture, and the ‘droplets’ providing models for attack-resonance structures. But in continuing with this idea, my approach was not always subtle! In the studio I tried to expand the gestural rhythm by superimposing the dramatic amplitude envelopes of fireworks onto the dense textures of heavy rain. And, with the use of multiple grouped resonators, I was able to impose defined pitch structures onto the material, allowing slowly evolving inharmonic spectra to eventually have a central role in the piece. As a whole, Liquid Sky aims to convey the feeling of a larger-than-life immersion in rain, and an intensified view of a powerful environmental phenomenon.Item Metadata only The Art World Whodunnit(The Times Magazine, 1998-11-21) Clarke, LouiseA hugely publicised and popular fund raiser exhibition the brainchild of Suzie Allan at the Royal College of Art. Both students and famous, established artists exhibit small works together, their identities only revealed after the event.Item Open Access Sju(Accademia Musicale Pescarese, 1999) Young, JohnAn electroacoustic composition based on digital transformation of a variably pronounced Swedish word.Item Metadata only German Drama, Theatre and Dance(Cambridge University Press, 1999) Huxley, Michael; Patterson, M.