Journal articles on the topic 'Zebedee'

AbstractJohn 18:15–16 mentions an unknown disciple of Jesus who “was known to the high priest” giving him access to the events in Caiaphas’s courtyard. A minority of scholars maintain the identity of this disciple is consistent with John, the son of Zebedee, whom they also maintain was the author of the Fourth Gospel. To support this position, the commonplace fiction of Galilean fishermen belonging to an aspiring “middle-class” is asserted. This article reviews the arguments and suggests that a more robust representation of class stratification in the ancient world demonstrates the implausibility of such a scenario.

The problem of the Beloved Disciple (BD) has come to seem virtually insoluble. It cannot be John bar-Zebedee: there would be no reason to suppress the name of so high an authority; striking events which he attended (Jairus' daughter, the Transfiguration) are passed over in silence; and anyhow the whole Gospel is antipathetic to the Jerusalem leadership (see below). It cannot be an anonymous jerusalem disciple: none such is mentioned in the Jerusalem events of 2–12; these latter seem to consist of elements also found in the synoptic tradition, given a Johannine slant; and why should his name be suppressed, if he were Jesus' favourite, and the Gospel community's hero? It cannot be a totally fictitious ‘symbolic’ figure: no proposed symbolism is clear or adequate; and it was rumoured in the Church that he would not die. No one believes that he was Lazarus or John Mark: so what are we left with? It is time to approach the question from a different angle.

The paper discusses The House with a Clock in Its Walls (1973) by John Bellairs and its film adaptation, directed by Eli Roth (2018), from queer theory and gender studies perspectives. The author of the article aims to overview and develop existing queer in‑terpretations of the first novel in the Lewis Barnavelt series, with contextual references to the cycle’s subsequent volumes, and to conduct a queer theory ‑inspired analysis of Roth’s motion picture. The genre represented by the novel and the film is also consid‑ered by taking the scholarly reflections on the queer aspects of the Gothic and the hor‑ror into account. The author concludes that although both versions of the story fail at portraying femininity in an unconventional way, they succeed in showing that queer‑ness and, more generally, the Otherness should be highly appreciated and valued.

We present a comparison of point cloud generation and quality of data acquired by Zebedee (Zeb1) and Leica C10 devices which are used in the same building interior. Both sensor devices come with different practical and technical advantages. As it could be expected, these advantages come with some drawbacks. Therefore, depending on the requirements of the project, it is important to have a vision about what to expect from different sensors. In this paper, we provide a detailed analysis of the point clouds of the same room interior acquired from Zeb1 and Leica C10 sensors. First, it is visually assessed how different features appear in both the Zeb1 and Leica C10 point clouds. Next, a quantitative analysis is given by comparing local point density, local noise level and stability of local normals. Finally, a simple 3D room plan is extracted from both the Zeb1 and the Leica C10 point clouds and the lengths of constructed line segments connecting corners of the room are compared. The results show that Zeb1 is far superior in ease of data acquisition. No heavy handling, hardly no measurement planning and no point cloud registration is required from the operator. The resulting point cloud has a quality in the order of centimeters, which is fine for generating a 3D interior model of a building. Our results also clearly show that fine details of for example ornaments are invisible in the Zeb1 data. If point clouds with a quality in the order of millimeters are required, still a high-end laser scanner like the Leica C10 is required, in combination with a more sophisticated, time-consuming and elaborative data acquisition and processing approach.

We present a comparison of point cloud generation and quality of data acquired by Zebedee (Zeb1) and Leica C10 devices which are used in the same building interior. Both sensor devices come with different practical and technical advantages. As it could be expected, these advantages come with some drawbacks. Therefore, depending on the requirements of the project, it is important to have a vision about what to expect from different sensors. In this paper, we provide a detailed analysis of the point clouds of the same room interior acquired from Zeb1 and Leica C10 sensors. First, it is visually assessed how different features appear in both the Zeb1 and Leica C10 point clouds. Next, a quantitative analysis is given by comparing local point density, local noise level and stability of local normals. Finally, a simple 3D room plan is extracted from both the Zeb1 and the Leica C10 point clouds and the lengths of constructed line segments connecting corners of the room are compared. The results show that Zeb1 is far superior in ease of data acquisition. No heavy handling, hardly no measurement planning and no point cloud registration is required from the operator. The resulting point cloud has a quality in the order of centimeters, which is fine for generating a 3D interior model of a building. Our results also clearly show that fine details of for example ornaments are invisible in the Zeb1 data. If point clouds with a quality in the order of millimeters are required, still a high-end laser scanner like the Leica C10 is required, in combination with a more sophisticated, time-consuming and elaborative data acquisition and processing approach.

Abstract. 3D building modelling has been turned to be one of the most interesting and hottest subjects in photogrammetry in last two decades, and it seems that photogrammetry provides the only economic means to acquire truly 3D city-data. Most of the researches proposed methods for 3d building modelling in LoD2 using aerial images and LIDAR data and the produced models will be enriched by oblique images, therefore there is always a demand for a user to interpret the façade or in other manual building reconstruction process the operator should draw boundaries to represent the building model and the process will be too time-consuming for 3d modelling for a whole city. Creating building facade models for a whole city requires considerable work, therefore for decades, much research has been dedicated to the automation of this reconstruction process. Nowadays researchers attempt to recommend a new method which is flexible to model hug variety of buildings and has a solution for several challenges such as irrelevant objects (pedestrians, trees, traffic signs, etc.), occluded areas and non-homogenous data. Based on various 3d building models applications, namely navigation systems, location-based system, city planning and etc. the demand for adding semantic features (such as windows and doors) is increasing and becoming more essential, therefore simple blocks as the representation of 3d buildings aren’t sufficient anymore. Therefore 2.5 models which show the façade details using pixel values have been substituted by LoD3 models recently.The lack of automation in image based approaches can be explained by the difficulties in image interpretation. Specifically, factors like illumination and occlusion can cause considerable confusion for machine understanding and some conditions (relative orientation, feature matching, etc.) need to be accurately determined to transfer image pixels to 3D coordinates. In recent years, terrestrial laser scanning data has been proven as a valuable source for building facade reconstruction. The point density of stationary laser scanning in urban areas can be up to hundreds or thousands of points per square meter, which is high enough for documenting most details on building facades. In comparison with image-based modelling, several steps such as image matching, intersection and resection will be eliminated, while there is no need to image interpret in laser data-based reconstruction approaches, these methods face major challenges such as extracting meaningful structures from a huge amount of data.This paper presents a data-driven algorithm for façade reconstruction, using a handheld laser scanner, Zebedee. The mentioned device is consisting of 2d laser scanner and an inertial measurement unit mounted on one or two springs, it has 270-degree field of view. Its mass is 210 g which makes it ideal for low measurement and it is maximum range is 30 m. The proposed method was implemented by using the Zebedee point cloud in order to determine the challenges of zeb1 data and ensure that the introduced device can be practical for 3d reconstruction.Due to obstacle existence, operator gross errors while data capturing and façade elements arrangement, there will always be occluded area and shadows in produced data. Occluded area cause tribulation in machine understanding and problems for automatic reconstruction algorithms. The proposed method represents a new way to detect occluded area and remove the artificial objects which are produced by them. The 3d point cloud is used to cover all façade elements and details, also image matching and producing 3-dimensional data steps will be omitted from the process.The proposed workflow is indicated in figure 1. Most researches such as road, building or other objects detection and reconstruction put ground points detection in priority in order to decrease data volume and processing time, so as a pre-processing step, point cloud is classified into two separate groups (non-ground and ground points).

Este artigo explora a relação entre o correto e o corrupto nas relações de poder. Ele parte da análise da resposta de Jesus aos filhos de Zebedeu, quando eles pedem lugares de privilégio no Reino, uma resposta com a qual Jesus faz um contraste entre o poder dos governantes e o poder do serviço. Destaca a diferença entre “poder” como um substantivo e “poder” como um verbo. Em seguida, considera-se as aporias entre o correto e o corrupto no uso do poder na micro e macro política e na esfera das relações sociais e culturais.

La Legenda pulcra de translacione capitis s. Iacobi es el relato del viaje de Pedro Alfonso, abad de Santa María de Carvoeiro (diócesis de Braga), a Jerusalén en busca de la cabeza de Santiago el Mayor, del robo de ésta y del regreso a Hispania, donde la sagrada reliquia acaba en poder de la reina Urraca, que la lleva a la catedral de Compostela. Este trabajo analiza los contenidos y las fuentes del texto y propone una datación entre el último tercio del s. xii y el primero del xiii. Finalmente, ofrece una edición crítica de la obra y su traducción.

In Offb 11.4 werden die beiden ‘apokalyptischen Zeugen' mit den zwei Ölbäumen gleichgesetzt, die laut Sach 4.11–14 rechts und links vor dem ‘Herrn der Erde’ stehen. In auffallender Parallelität fordern die Söhne Zebedäi die Plätze zur Rechten und zur Linken des Erhöhten (Mk 10.37, cf. Mt 20.21). Die Vollmacht der Zeugen, Feinde mit Feuer zu strafen (Offb 11.5) erinnert an den entsprechenden Wunsch der Zebedaiden in Lk 9.54. Und die Anspielungen auf Mose und Elia (Offb 11.6) beruhen offenbar auf der Verklärungsgeschichte (Mt 17.1–9 parr.), in der Johannes und Jakobus den beiden alttestamentlichen Gestalten gegenber–stehen. Daher scheint Offb 11.3–13 jene frühchristlichen Nachrichten zu bestätigen, denen zufolge der Apostel Johannes ebenso wie sein Bruder den Märtyrertod erlitten hat.

O artigo apresenta uma análise das formas literárias de Mt 20,20-28, que narra o pedido da mãe dos filhos de Zebedeu e a resposta de Jesus a respeito do servir. Será aplicado o referencial teórico proposto por Klaus Berger, em As formas literárias do Novo Testamento (Loyola, 1998). Com a aplicação da análise formal a perícope é classificada com um gênero abrangente que contém características de texto simbulêutico, epidíctico e dicânico. Mediante um diagrama são identificados os subgêneros, que são categorias menores em níveis diferentes e que aparecem combinados na perícope. A teoria comunicativa dos gêneros prioriza a relação autor/leitor e releva a importância do ambiente vital como sustentava a tese clássica dos gêneros literários de M. Dibelius e R. Bultmann. Assim os sinais e formas usados no texto produzem o efeito nos ouvintes/leitores. Eles permanecem no modelo dos dominadores do mundo ou vão aderir ao modelo de Jesus? Vão reproduzir a racionalidade da dominação ou a do serviço? A argumentação classificada como simbulêutica em Mt 20,26 visa modificar os pressupostos usados pelos ouvintes para julgar e tomar decisões. O critério não será o poder dominação, mas o serviço, o que resulta em relações igualitárias na comunidade de Mateus. Quem quiser tornar-se grande, deve ser servidor, não o primeiro, mas o último.

Proses belajar mengajar dilingkungan prodi PJKR tidak hanya di ruang kelas namun di luar kelas pun ada. Karena ada beberapa mata kuliah yang membutuhkan praktek di lapangan selain di kelas, seperti sepak bola, bola voli, bola basket dan PLS (Pendidikan Luar Sekolah). Karena sebagai calon guru penjas tidak hanya terbatas pada mata pelajaran pendidikan jasmani namun lebih dari itu, karena di lingkungan sekolah biasanya yang dipercaya dalam kegiatan sekolah terutama kegiatan outdoor yang ditunjuk oleh kepala sekolah atau wakil kepala sekolah biasanya guru penjas, sehingga prodi PJKR Universitas Galuh berusaha mempersiapkan SDM (sumber daya manusia) yaitu calon guru penjas untuk senantiasa siap mengemban tugas dari sekolah salah satunya mampu memiliki pengetahuan dalam hal kegiatan outdoor seperti outbound. Kegiatan outbound ini terdiri dari catchen crawl, two line bridge, elvis travers, commando crawl, tarzan travers, dan hebee zebee dan hasil yang didapat dan dirasakan oleh para peserta outbound ini sangat terasa mulai dari kondisi fisik yang harus dipersiapkan seperti kekuatan, kecepatan, power, daya tahan otot, daya tahan kardiovaskular, fleksibilitas, keseimbangan, koordinasi, kelincahan, akurasi, dan reaksi, serta pengetahuan tentang outbound sehingga para mahasiswa memiliki wawasan keilmuan dan pengalaman tentang motor educability dan outbound yang kelak dapat digunakan ketika mereka menjadi guru penjas atau instruktur outbound.The teaching and learning process in the PJKR study program was not only in the classroom but also outside the classroom. Because there were several subjects that required practice in the field other than in the classroom, such as soccer, volleyball, basketball and PLS (Outside School Education). Because as a physical education teacher candidate it was not only limited to physical education subjects but more than that, because in the school environment usually those who were trusted in school activities, especially outdoor activities appointed by the principal or deputy principal of the school were usually physical education teachers, so the Galuh University PJKR study program tries preparing human resources (human resources), namely prospective physical education teachers to always be ready to carry out the duties of the school, one of which is being able to have knowledge in terms of outdoor activities such as outbound activities. This outbound activity consists of catchen crawl, two line bridges, elvis travers, commando crawl, tarzan travers, and hebee zebee and the results obtained and felt by the outbound participants were very pronounced starting from the physical conditions that must be prepared such as strength, speed, power, muscle endurance, cardiovascular endurance, flexibility, balance, coordination, agility, accuracy, and reaction, as well as outbound knowledge so that students have scientific insight and experience about motor educability and outbound activities that can later be used when they become physical education teachers or instructors. outbound.

Abstract The potential increased frequency and severity of drought associated with environmental change represents a significant obstacle to efforts aimed at enhancing food security due to its impact on crop development, and ultimately, yield. Our understanding of the impact of drought on crop growth in terms of plant aerial tissues is much more advanced than knowledge of the below-ground impacts. We undertook an experiment using X-ray Computed Tomography that aimed to support measurements of infrared gas exchange from plant shoots with quantification of 3D root architecture traits and the associated soil structural characteristics. Winter wheat (cv. Zebedee) was assessed at two early growth stages (14 and 21 days) under four water treatments (100, 75, 50 and 25 % of a notional field capacity (FC) and across two soil types (sandy loam and clay loam)). Plants generally grew better (to a larger size) in sandy loam soil as opposed to clay loam soil, most likely due to the soil structure and the associated pore network. All plants grew poorly under extreme water stress and displayed optimal growth at 75 % of FC, as opposed to 100 %, as the latter was most likely too wet. The optimal matric potential for root and shoot growth, inferred from the water release curve for each soil type, was higher than that for photosynthesis, stomatal conductance and transpiration suggesting root and shoot growth was more affected by soil water content than photosynthesis-related characteristics under water deficit conditions. With incidences of drought likely to increase, identification of wheat cultivars that are more tolerant of these conditions is important. Studies that consider the impact of water stress on both plant shoots and roots, and the role of the soil pore system such as this offer considerable potential in supporting these efforts.

O presente artigo aborda o episódio da cura do cego Bartimeu, e pretende reconhecê-lo como um relato vocacional, na medida em que Bartimeu, a partir do chamado de Jesus, deixa não apenas de ser cego, conforme havia pedido, mas também deixa de ser mendigo, passando a seguir Jesus no caminho, como discípulo. O artigo destaca também a importante participação dos transeuntes, que no início repreendiam o cego para que se calasse, mas depois do chamado de Jesus motivam Bartimeu a ir-lhe ao encontro com palavras de estímulo. Por fim, ressalta-se ainda o irônico contraste entre o pedido do filho de Timeu, que é atendido prontamente por Jesus, e o pedido do relato imediatamente anterior, dos filhos de Zebedeu, ao qual Jesus não atende.

IntroductionIn this article, I discuss the potential of sound to construct fictional spaces and build relations between bodies using two performance installations as case studies. The first is Invisible Flock’s 105+dB, a site-specific sound work which transports crowd recordings of a soccer match to alternative geographical locations. The second is Atelier Bildraum’s Bildraum, an installation performance using live photography, architectural models, and ambient sound. By writing through these two works, I question how sound builds relations between bodies and across space as well as questioning the role of site within sound installation works. The potential for sound to create shared space and foster relationships between bodies, objects, and the surrounding environment is evident in recent contemporary art exhibitions. For MOMA’s Soundings: A Contemporary Score, curator Barbara London, sought to create a series of “tuned environments” rather than use headphones, emphasising the potential of sound works to envelop the gallery goer. Similarly, Sam Belinafante’s Listening, aimed to capture a sense of how sound can influence attention by choreographing the visitors’ experience towards the artworks. By using motorised technology to stagger each installation, gallery goers were led by their ears. Both London’s and Belinafante’s curatorial approaches highlight the current awareness and interest in aural space and its influence on bodies, an area I aim to contribute to with this article.Audio-based performance works consisting of narration or instructions received through headphones feature as a dominant trend within the field of theatre and performance studies. Well-known examples from the past decade include: Janet Cardiff’s The Missing Case Study B; Graeme Miller’s Linked; and Lavinia Greenlaw’s Audio Obscura. The use of sound in these works offers several possibilities: the layering of fiction onto site, the intensification, or contradiction of existing atmospheres and, in most cases, the direction of audience attention. Misha Myers uses the term ‘percipient’ to articulate this mode of engagement that relies on the active attendance of the participant to their surroundings. She states that it is the participant “whose active, embodied and sensorial engagement alters and determines [an artistic] process and its outcomes” (172-23). Indeed, audio-based works provide invaluable ways of considering how the body of the audience member might be engaged, raising important issues in relation to sound, embodiment and presence. Yet the question remains, outside of individual acoustic environments, how does sound build physical relations between bodies and across space? Within sound studies the World Soundscape Project, founded in the 1970s by R. Murray Schafer, documents the acoustic properties of cities, nature, technology and work. Collaborations between sound engineers and musicians indicated the musicality inherent in the world encouraging attunement to the acoustic characteristics of our environment. Gernot Böhme indicates the importance of personal and emotional impressions of space, experienced as atmosphere. Atmosphere, rather than being an accumulation of individual acoustic characteristics, is a total experience. In relation to sound, sensitivity to this mode of engagement is understood as a need to shift from hearing in “an instrumental sense—hearing something—into a way of taking part in the world” (221). Böhme highlights the importance of the less tangible, emotional consistency of our surrounding environment. Brandon Labelle further indicates the social potential of sound by foregrounding the emotional and psychological charges which support “event-architecture, participatory productions, and related performative aspects of space” (Acoustic Spatiality 2) these, Labelle claims enable sound to catalyse both the material world and our imaginations. Sound as felt experience and the emotional construction of space form the key focus here. Within architectural discourse, both Juhani Pallasmaa and Peter Zumthor point to atmospheric nuances and flows of energy which can cause events to furnish the more rigid physical constructs we exist between, influencing spatial quality. However, it is sensorial experience Jean-Paul Thibaud claims, including attention to light, sound, smell and texture that informs much of how we situate ourselves, contributing to the way we imaginatively construct the world we inhabit, even if only of temporary duration. To expand on this, Thibaud locates the sensorial appreciation of site between “the lived experience of people as well as the built environment of the place” (Three Dynamics 37) hinting at the presence of energetic flows. Such insights into how relations are built between bodies and objects inform the approach taken in this article, as I focus on sensorial modes of engagement to write through my own experience as listener-spectator. George Home-Cook uses the term listener-spectator to describe “an ongoing, intersensorial bodily engagement with the affordances of the theatrical environment” (147) and a mode of attending that privileges phenomenal engagement. Here, I occupy the position of the listener-spectator to attend to two installations, Invisible Flock’s 105+dB and Atelier Bildraum’s Bildraum. The first is a large-scale sound installation produced for Hull UK city of culture, 2017. The piece uses audio recordings from 16 shotgun microphones positioned at the periphery of Hull City’s soccer pitch during a match on 28 November 2016. The piece relocates the recordings in public space, replaying a twenty-minute edited version through 36 speakers. The second, Bildraum, is an installation performance consisting of photographer Charlotte Bouckaert, architect Steve Salembier with sound by Duncan Speakman. The piece, with a running time of 40-minutes uses architectural models, live photography, sound and lighting to explore narrative, memory, and space. In writing through these two case studies, I aim to emphasise sensorial engagement. To do so I recognise, as Salomé Voegelin does, the limits of critical discourse to account for relations built through sound. Voegelin indicates the rift critical discourse creates between what is described and its description. In her own writing, Voegelin attempts to counteract this by using the subjective “I” to foreground the experience of a sound work as a writer-listener. Similarly, here I foreground my position as a listener-spectator and aim to evidence the criticality within the work by writing through my experience of attending thereby bringing out mood, texture, atmosphere to foreground how relations are built across space and between bodies.105+dB Invisible Flock January 2017, I arrive in Hull for Invisible Flock’s 105+dB programmed as part of Made in Hull, a series of cultural activities happening across the city. The piece takes place in Zebedee’s Yard, a pedestrianised area located between Princes Dock Street and Whitefriargate in the grounds of the former Trinity House School. From several streets, I can already hear a crowd. Sound, porous in its very nature, flows through the city expanding beyond its immediate geography bringing the notion of a fictional event into being. I look in pub windows to see which teams are playing, yet the visual clues defy what my ears tell me. Listening, as Labelle suggests is relational, it brings us into proximity with nearby occurrences, bodies and objects. Sound and in turn listening, by both an intended and unsuspecting public, lures bodies into proximity aurally bound by the promise of an event. The use of sound, combined with the physical sensation implied by the surrounding architecture serves to construct us as a group of attendees to a soccer match. This is evident as I continue my approach, passing through an archway with cobbled stones underfoot. The narrow entrance rapidly fills up with bodies and objects; push chairs, wheelchairs, umbrellas, and thick winter coats bringing us into close physical contact with one another. Individuals are reduced to a sea of heads bobbing towards the bright stadium lights now visible in the distance. The title 105+dB, refers to the volume at which the sound of an individual voice is lost amongst a crowd, accordingly my experience of being at the site of the piece further echoes this theme. The physical structure of the archway combined with the volume of bodies contributes to what Pallasmaa describes as “atmospheric perception” (231), a mode of attending to experience that engages all the senses as well as time, memory and imagination. Sound here contributes to the atmosphere provoking a shift in my listening. The importance of the listener-spectator experience is underscored by the absence of architectural structures habitually found in stadiums. The piece is staged using the bare minimum: four metal scaffolding structures on each side of the Yard support stadium lights and a high-visibility clad figure patrols the periphery. These trappings serve to evoke an essence of the original site of the recordings, the rest is furnished by the audio track played through 36 speakers situated at intervals around the space as well as the movement of other bodies. As Böhme notes: “Space is genuinely experienced by being in it, through physical presence” (179) similarly, here, it is necessary to be in the space, aurally immersed in sound and in physical proximity to other bodies moving across the Yard. Image 1: The piece is staged using the bare minimum, the rest is furnished by the audio track and movement of bodies. Image courtesy of the artists.The absence of visual clues draws attention to the importance of presence and mood, as Böhme claims: “By feeling our own presence, we feel the space in which we are present” (179). Listening-spectators actively contribute to the event-architecture as physical sensations build and are tangibly felt amongst those present, influenced by the dramaturgical structure of the audio recording. Sounds of jeering, applause and the referees’ whistle combine with occasional chants such as “come on city, come on city” marking a shared rhythm. Specific moments, such as the sound of a leather ball hitting a foot creates a sense of expectation amongst the crowd, and disappointed “ohhs” make a near-miss audibly palpable. Yet, more important than a singular sound event is the sustained sensation of being in a situation, a distinction Pallasmaa makes, foregrounding the “ephemeral and dynamic experiential fields” (235) offered by music, an argument I wish to consider in relation to this sound installation.The detail of the recording makes it possible to imagine, and almost accurately chart, the movement of the ball around the pitch. A “yeah” erupts, making it acoustically evident that a goal is scored as the sound of elation erupts through the speakers. In turn, this sensation much like Thibaud’s concept of intercorporeality, spreads amongst the bodies of the listening-spectators who fist bump, smile, clap, jeer and jump about sharing and occupying Zebedee’s Yard with physical manifestations of triumph. Through sound comes an invitation to be both physically and emotionally in the space, indicating the potential to understand, as Pallasmaa suggests, how “spaces and true architectural experiences are verbs” (231). By physically engaging with the peaks and troughs of the game, a temporary community of sorts forms. After twenty minutes, the main lights dim creating an amber glow in the space, sound is reduced to shuffling noises as the stadium fills up, or empties out (it is impossible to tell). Accordingly, Zebedee’s Yard also begins to empty. It is unclear if I am listening to the sounds in the space around me, or those on the recording as they overlap. People turn to leave, or stand and shuffle evidencing an attitude of receptiveness towards their surrounding environment and underscoring what Thibaud describes as “tuned ambiance” where a resemblance emerges “between what is felt and what is produced” (Three Dynamics 44). The piece, by replaying the crowd sounds of a soccer match across the space of Zebedee’s Yard, stages atmospheric perception. In the absence of further architectural structures, it is the sound of the crowd in the stadium and in turn an attention to our hearing and physical presence that constitutes the event. Bildraum Atelier BildraumAugust 2016, I am in Edinburgh to see Bildraum. The German word “bildraum” roughly translates as image room, and specifically relates to the part of the camera where the image is constructed. Bouckaert takes high definition images live onstage that project immediately onto the screen at the back of the space. The audience see the architectural model, the taking of the photograph, the projected image and hear both pre-recorded ambient sounds by Speakman, and live music played by Salembier generating the sensation that they are inhabiting a bildraum. Here I explore how both sound and image projection can encourage the listener-spectator to construct multiple narratives of possible events and engage their spatial imagination. Image 2: The audience see the architectural model, the taking of the photograph, the projected image and hear both live and pre-recorded sounds. Image courtesy of the artists.In Bildraum, the combination of elements (photographic, acoustic, architectural) serve to create provocative scenes which (quite literally) build multiple spaces for potential narratives. As Bouckaert asserts, “when we speak with people after the performance, they all have a different story”. The piece always begins with a scale model of the actual space. It then evolves to show other spaces such as a ‘social’ scene located in a restaurant, a ‘relaxation’ scene featuring sun loungers, an oversize palm tree and a pool as well as a ‘domestic’ scene with a staircase to another room. The use of architectural models makes the spaces presented appear as homogenous, neutral containers yet layers of sound including footsteps, people chatting, doors opening and closing, objects dropping, and an eerie soundscape serve to expand and incite the construction of imaginative possibilities. In relation to spatial imagination, Pallasmaa discusses the novel and our ability, when reading, to build all the settings of the story, as though they already existed in pre-formed realities. These imagined scenes are not experienced in two dimensions, as pictures, but in three dimensions and include both atmosphere and a sense of spatiality (239). Here, the clean, slick lines of the rooms, devoid of colour and personal clutter become personalised, yet also troubled through the sounds and shadows which appear in the photographs, adding ambiance and serving to highlight the pluralisation of space. As the piece progresses, these neat lines suffer disruption giving insight into the relations between bodies and across space. As Martin Heidegger notes, space and our occupation of space are not mutually exclusive but intertwined. Pallasmaa further reminds us that when we enter a space, space enters us and the experience is a reciprocal exchange and fusion of both subject and object (232).One image shows a table with several chairs neatly arranged around the outside. The distance between the chairs and the table is sufficient to imagine the presence of several bodies. The first image, though visually devoid of any living presence is layered with chattering sounds suggesting the presence of bodies. In the following image, the chairs have shifted position and there is a light haze, I envisage familiar social scenes where conversations with friends last long into the night. In the next image, one chair appears on top of the table, another lies tilted on the floor with raucous noise to accompany the image. Despite the absence of bodies, the minimal audio-visual provocations activate my spatial imagination and serve to suggest a correlation between physical behaviour and ambiance in everyday settings. As discussed in the previous paragraph, this highlights how space is far from a disinterested, or separate container for physical relations, rather, it underscores how social energy, sound and mood can build a dynamic presence within the built environment, one that is not in isolation but indeed in dialogue with surrounding structures. In a further scene, the seemingly fixed, stable nature of the models undergoes a sudden influx of materials as a barrage of tiny polystyrene balls appears. The image, combined with the sound suggests a large-scale disaster, or freak weather incident. The ambiguity created by the combination of sound and image indicates a hidden mobility beneath what is seen. Sound here does not announce the presence of an object, or indicate the taking place of a specific event, instead it acts as an invitation, as Voegelin notes, “not to confirm and preserve actuality but to explore possibilities” (Sonic 13). The use of sound which accompanies the image helps to underscore an exchange between the material and immaterial elements occurring within everyday life, leaving a gap for the listener-spectator to build their own narrative whilst also indicating further on goings in the depth of the visual. Image 3: The minimal audio-visual provocations serve to activate my spatial imagination. Image courtesy of the artists.The piece advances at a slow pace as each model is adjusted while lighting and objects are arranged. The previous image lingers on the projector screen, animated by the sound track which uses simple but evocative chords. This lulls me into an attentive, almost meditative state as I tune into and construct my own memories prompted by the spaces shown. The pace and rhythm that this establishes in Summerhall’s Old Lab creates a productive imaginative space. Böhme argues that atmosphere is a combination of both subjective and objective perceptions of space (16). Here, stimulated by the shifting arrangements Bouckaert and Salembier propose, I create short-lived geographies charting my lived experience and memories across a plurality of possible environments. As listener-spectator I am individually implicated as the producer of a series of invisible maps. The invitation to engage with the process of the work over 40-minutes as the building and dismantling of models and objects takes place draws attention to the sensorial flows and what Voegelin denotes as a “semantic materiality” (Sonic 53), one that might penetrate our sensibility and accompany us beyond the immediate timeframe of the work itself. The timeframe and rhythm of the piece encourages me, as listener-spectator to focus on the ambient sound track, not just as sound, but to consider the material realities of the here and now, to attend to vibrational milieus which operate beyond the surface of the visible. In doing so, I become aware of constructed actualities and of sound as a medium to get me beyond what is merely presented. ConclusionThe dynamic experiential potential of sound installations discussed from the perspective of a listener-spectator indicate how emotion is a key composite of spatial construction. Beyond the closed acoustic environments of audio-based performance works, aural space, physical proximity, and the importance of ambiance are foregrounded. Such intangible, ephemeral experiences can benefit from a writing practice that attends to these aesthetic concerns. By writing through both case studies from the position of listener-spectator, my lived experience of each work, manifested through attention to sensorial experience, have indicated how relations are built between bodies and across space. In Invisible Flock´s 105+dB sound featured as a social material binding listener-spectators to each other and catalysing a fictional relation to space. Here, sound formed temporal communities bringing bodies into contact to share in constructing and further shaping the parameters of a fictional event.In Atelier Bildraum’s Bildraum the construction of architectural models combined with ambient and live sound indicated a depth of engagement to the visual, one not confined to how things might appear on the surface. The seemingly given, stable nature of familiar environments can be questioned hinting at the presence of further layers within the vibrational or atmospheric properties operating across space that might bring new or alternative realities to the forefront.In both, the correlation between the environment and emotional impressions of bodies that occupy it emerged as key in underscoring and engaging in a dialogue between ambiance and lived experience.ReferencesBildraum, Atelier. Bildraum. Old Lab, Summer Hall, Edinburgh. 18 Aug. 2016.Böhme, Gernot, and Jean-Paul Thibaud (eds.). The Aesthetics of Atmospheres. 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