Björk, the Icelandic singer’s Biophilia project incorporates handmade instruments, iPad apps, David Attenborough’s nature films and an album too – and she’s showcasing it all at Manchester international festival.“There will be an album in September, with an app to go with each of the 10 songs“.Extraordinary.This article titled “Björk: ‘Manchester is the prototype’” was written by Alex Needham, for The Guardian on Monday 4th July 2011 19.00 UTCOriginally formulated by scientist Edward O Wilson, the biophilia hypothesis suggests that human beings have an innate affinity with the natural world – plants, animals or even the weather. Yet it’s not biophilia but good old-fashioned fandom that has drawn a small band of Björk obsessives to queue outside Manchester’s Campfield Market Hall since 10am this morning. Not that there’s anything old-fashioned about the woman they are here to see. Biophilia is the Icelandic singer’s new project – the word means “love of living things” – and promises to push the envelope so far you’ll need the Hubble telescope to see it.A collection of journalists have already had a preview at a press conference in the Museum of Science and Industry over the road. Björk is absent, preparing for tonight’s live show, her first in the UK for over three years, which will open the Manchester international festival. Instead, artist and app developer Scott Snibbe, musicologist Nikki Dibben and project co-ordinator James Merry talk through Biophilia’s many layers. There will be an album in September, with an app to go with each of the 10 songs. There will be an education project, designed to teach children about nature, music and technology – some local kids will embark on it next week. There will be a documentary. And then there will be tonight’s show, performed in the round to a 2,000-strong crowd including journalists representing publications from New Scientist to the New York Times, as well as the diehard fans waiting outside. One, 20-year-old Nick from London, is a classical violinist who has loved Björk since the age of 14. “I wasn’t really into pop at all until I heard Medúlla,” he says, citing her most challenging album. “It was like a gateway drug from me liking difficult 20th-century western art music to liking pop.”It’s a journey in the opposite direction from the one most music fans make, and one which speaks volumes about the complexity of Björk’s work. “More classical musicians respect Björk than any other pop star,” he adds.At the museum, Snibbe is demonstrating the apps. The app that goes with the first single, Crystalline, includes a game in which you collect crystals in a tunnel, through which process you alter and customise the music. The app also includes an abstract version of the musical score; and an essay by Dibben that explains, in this case, how the structures of crystals relate to the musical structure of the song. The app for another song, Cosmogony, presents a 3D cosmos you can navigate. Each app has been created by a different – often rival – developer. “To me, it feels like the birth of opera or the birth of cinema,” says Snibbe.Yet Björk didn’t have such lofty aspirations in creating the project. “My main aim is to not get too bored myself,” she says, via email (she rests her voice between shows). “I feel that if I’m curious and excited there is a bigger chance the listener might be. At the end of the day, it’s more about the feeling of an adventure rather than the details of the adventure itself. So in short: whatever turns you on.”That said, the change from a passive to an active listening experience is a radical one. “The apps are mostly made for headphones and a private experience,” says Björk. “What you see live is only us playing our version. You can play a totally different versions at home.” If you’ve no desire to do that, Merry is at pains to point out that Biophilia will still exist as a CD or download – and indeed only those with access to an iPad or iPhone can experience the apps. So far, the project has been too expensive to adapt to other handheld devices.At the show venue, the journalists are being given a tour of the new instruments that have been specially built for the project. One contraption looks like a giant silver mangle decorated with two massive ear trumpets, but is called a sharpsichord. There are two giant pendulums, which have strings plucked by a plectrum as they swing past. There’s a Tesla coil that descends in a cage from the ceiling; two prongs that emit purple flashes of lightning – and, with it, sound. There’s also a celeste, which has been gutted and fitted with the pipes of a gamelan. These fantastical devices are controlled by an iPad. Above the performance space is a circle of screens that show the apps for each new song; moving tectonic plates for Mutual Core; invading pink cells for Virus (“Like a virus needs a body, as soft tissue feeds on blood, I will find you, the urge is here,” go the lyrics).It must be one of the most complex pop shows ever, and according to Björk, it could have been more elaborate still. “Manchester is the prototype,” she says. “We had to leave many things out because of budget and time and stuff.” As it is, the whole project has taken three years and cost so much money she told Rolling Stone that “we’ll be lucky if we earn zero”.Yet, on purely artistic grounds, it’s hard to regard Biophilia as anything other than a success. As the lights go down, Björk’s childhood hero David Attenborough’s unmistakable voice, recorded just that day, fills the room to explain the songs. The show includes Björk’s favourite footage from BBC nature documentaries playing when she performs older songs. Hidden Place is illustrated by a beautiful but disturbing clip from Attenborough’s Life – of a seal’s corpse being devoured by psychedelically coloured worms and starfish. All 10 tracks from the new album are played. Such an onslaught of new material would try the patience of most audiences, but this one is rapt – no one even goes to the bar.Much of this is due to the sensory bombardment of music, images and costumes – not least Björk’s bright orange wig, which a comment on the Guardian’s review says makes her resemble a tamarin monkey. Her decision to ban cameras and other recording equipment from the venue has also played its part. “I feel since everyone has made such an effort to be there all together at the same place and time, we might as well go for it,” she says. “It can be hard to play music for people who are filming you for Twitter or whatever. It’s like going to a restaurant with someone who keeps texting their friends while you are speaking to them – hard to concentrate.”Then there’s Björk’s extraordinary voice, once compared by Bono to an icepick, and still imperishable at 45. “My voice has changed,” she says. “I thought it had gone a little deeper. On my last tour I got nodules [on the vocal cords] but managed to stretch it out with three years of vocal work, so I’m back to my old range now.” Björk “adores” a whole range of singers: “Chaka Khan, Beyoncé, Antony” – the latter being Antony Hegarty, a former collaborator who is here in the audience – though her “favourite singer alive today” is Azerbaijani devotional singer Alim Qasimov. She is accompanied by a 24-piece Icelandic choir she discovered on YouTube.After spending so long meticulously making Biophilia, performance feels liberating. Live shows and making an album are, says Björk, “extreme opposites. After noodling for ever on an album, gathering together the best moments, it’s refreshing and healthy to have to do it all in one whack. Then you sort of have to take real life into it and accept that you only have whatever you have that day – and that is enough.”Right now Björk is at the intersection of music, nature and technology, exploring how the three together might help build a more sustainable future. But is it still pop? “Yes, absolutely!” Björk claims. (Dibben, who wrote a book about Björk, says the singer is wary of having her music hived off into the rarified world of the academy.) “Or perhaps I would rather call it folk music – folk music of our time. I was never too much into Warhol and the whole pop thing – it felt a bit superficial. I prefer folk. People. Humans.”• Bjork plays Manchester international festival on 7, 10, 13 and 16 July. Biophilia is released in September<br /> <a href=”http://oas.guardian.co.uk/RealMedia/ads/click_nx.ads/guardianapis.com/music/oas.html/@Bottom” _mce_href=”http://oas.guardian.co.uk/RealMedia/ads/click_nx.ads/guardianapis.com/music/oas.html/@Bottom” rel=”nofollow”><br /> <img src=”http://oas.guardian.co.uk/RealMedia/ads/adstream_nx.ads/guardianapis.com/music/oas.html/@Bottom” _mce_src=”http://oas.guardian.co.uk/RealMedia/ads/adstream_nx.ads/guardianapis.com/music/oas.html/@Bottom” alt=”Ads by The Guardian”></img><br /> </a><br />guardian.co.uk © Guardian News & Media Limited 2010Published via the Guardian News Feed plugin for WordPress.Thanks for subscribing to Andy Roberts blogBjörk: ‘Manchester is the prototype’Related posts:who is itExclusive Radiohead artwork plus The King of Limbs album streamCanterbury Cathederal
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Björk: ‘Manchester is the prototype’
http://distributedresearch.net/blog/2011/07/05/bjork-manchester-is-the-prototype
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July 5 2011, 8:45am | Comments »
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Why we must make the adder count
http://distributedresearch.net/blog/2011/04/02/why-we-must-make-the-adder-count
More research into adder genetics may prevent small isolated colonies from dying out. Our only venomous snake is an important part of UK wildlife heritage.
This article titled “Why we must make the adder count” was written by John Baker, for guardian.co.uk on Saturday 2nd April 2011 09.00 UTC One of only six reptile species native to Britain, the adder is a fussy creature. Its restriction to specific habitats, and its frequent disturbance by human activity, well-meaning and otherwise, have made its populations isolated and prone to the effects of inbreeding. The Institute of Zoology, Natural England and Oxford University is undertaking a survey of adders (also known as vipers) to identify whether their population in the UK is suffering from a lack of genetic diversity. This is encouraging, and I fully support further research into adder genetics. Two of the other reptile species in Britain, the sand lizard and smooth snake, have always had limited natural ranges here. Because of this, they have strict legal protection and have been the subject of conservation programmes to protect and manage the few sites where they occur, and to reintroduce them to places from where they have disappeared. The adder is one of the remaining four species that we call “widespread” because they have much larger natural ranges in Britain. The adder can be found from the very south-west of England all the way north to Scotland. This does not mean that Britain is brimming with them or any other reptile species: within their apparently large ranges, they are restricted to certain types of habitat. The adder prefers grassland, scrub and woodland edge, primarily on sandy soils. There are also other factors that make it a particularly vulnerable species. Back in 2004, English Nature (now Natural England) contacted naturalists around the country who had good knowledge of adder populations and asked them to evaluate the health of “their” adders, with some interesting results. In their opinion, “disturbance” was the greatest threat. But analysis of the data revealed some other trends. A third of the adder populations were small (estimated as fewer than 10 adult snakes), and more than a third of the populations were isolated. Population declines tended to be more frequent among these small or isolated populations, as is to be expected due to chance fluctuations, but also as you would expect from inbreeding. Amphibian and Reptile Conservation co-ordinates Make the Adder Count, a project encouraging local adder conservation and long-term monitoring of populations, pooling information from a small but dedicated band of adder-watchers around the country. They, too, have consistently reported that the greatest threat to adders is disturbance. On further questioning, it become apparent that disturbance can have different causes. In some cases it refers to destruction of habitat – something that can happen even on protected sites, unintentionally, through “habitat management”. Adders are also still being killed by humans, through overly heavy-handed management of some of the areas they inhabit. Sometimes disturbance can also result from people visiting well-known adder sites. So, can the general public help at all? Certainly. They can visit the Sliding Scales campaign website, a project for recording current or recent distributions of any snakes, as well as visiting the Add an Adder site – which aims to collect “records from the past” (both from personal experience and anecdotes from friends and relatives) to get a better idea of not only where adders are, but also where they used to be. If people find shed skins (or “sloughs”) of adders, they can also be sent to the ARC Trust – those will be used in a research project to better understand adder genetics. The animals we love face a range of threats. We herpetologists wait with interest to learn more about the genetics of our adder populations.
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April 2 2011, 2:33pm | Comments »
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Nasa scientist claims evidence of extraterrestrial life
Of course there’s a chance of finding fossilised traces of life on meteorites. Nothing to do with the face found on Mars at all.
This article titled “Nasa scientist claims evidence of extraterrestrial life” was written by Ian Sample, science correspondent, for The Guardian on Sunday 6th March 2011 14.03 UTC A Nasa scientist has stirred up fresh debate over life elsewhere in the cosmos after claiming to have found tiny fossils of alien bugs inside meteorites that landed on Earth. Richard Hoover, an astrobiologist at the US space agency’s Marshall space flight centre in Alabama, said filaments and other structures in rare meteorites appear to be microscopic fossils of extraterrestrial beings that resemble algae known as cyanobacteria. Some of the features look similar to a giant bacterium called Titanospirillum velox, which has been collected from the Ebro delta waterway in Spain, according to a report on the findings. Laboratory tests on the rocky filaments found no evidence to suggest they were remnants of Earth-based organisms that contaminated the meteorites after they landed, Hoover said. He discovered the features after inspecting the freshly cleaved surfaces of three meteorites that are believed to be among the oldest in the solar system. Hoover, an expert on life in extreme environments, has reported similar structures in meteorites several times before. So far, none has been confirmed as the ancient remains of alien life. But writing in the Journal of Cosmology, Hoover claims that the lack of nitrogen in the samples, which is essential for life on Earth, indicates they are “the remains of extraterrestrial life forms that grew on the parent bodies of the meteorites when liquid water was present, long before the meteorites entered the Earth’s atmosphere.” Rudy Schild, a scientist at the Harvard-Smithsonian Centre for Astrophysics and editor of the journal, said: “The implications are that life is everywhere, and that life on Earth may have come from other planets.” In a note posted alongside the paper, Schild said he had invited 100 scientists to comment on the research. Their responses will be published on the journal’s website from Monday. “In this way, the paper will have received a thorough vetting, and all points of view can be presented,” Schild wrote. Proof that alien microbes hitched across the cosmos inside meteors, or by clinging to their surfaces, would bolster a theory known as panspermia, in which life is spread from planet to planet by hurtling space rocks. To many scientists, Hoover’s work recalls the adage that extraordinary claims require extraordinary evidence. Hoover is not the only researcher to claim a discovery of alien life inside meteorites. In 1996, David McKay, another Nasa researcher, said he had found what appeared to be traces of Martian life inside a meteorite recovered from Allan Hills in Antarctica in 1984.
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March 7 2011, 3:38pm | Comments »
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