Note to Self
2019
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Abstract
Those people who supported me, challenged me, inspired me, and lent their own hands in help have my utmost gratitude, and recognition goes to theme for this film's successes. On difficult days, and in dire times, my friends, classmates, and collaborators made this film possible. Firstly, my thesis advisor, Brian Larson, whose abounding patience and encouragement were matched only by his expertise and insight, gave constant meaningful feedback and advice during my time as his student. As his student, Professor Larson always pushed us to improve and tested our skillsthis was precisely the reason I asked him to be my advisor on my thesis. He certainly delivered: the most meaningful council came in the form of difficult questions meant to challenge my thoughts on my film, story, and characters. This was a vital step to improving my own understanding of my film, and thus creating a better, more thoughtful piece. In addition to Professor Larson, I received a great deal of advice and feedback from other professors and classmates that did not go to waste. I was always grateful for the information and helpful opinions. There were many thoughts and observations that didn't occur to me, and hearing form outside perspectives that usually did not have much prior knowledge of the film's content was extremely enlightening. It is important to note my main collaborators on this project: my voice actress Christa Elliot and my sound designer Zazu Pitts of Sour Note Productions. Ms. Elliot was incredibly diligent in her work and easy to work with. Likewise, Mr. Pitts is a talented and highly professional sound designer, and his skill truly shows in his work in the film. He made many accommodations and worked extremely hard on this very complicated piece. I am very grateful for their hard work, as they treated this piece like it was their own. This is as much their work of art as it is mine. Lastly, I was truly touched and amazed by the many people who lent their help to complete my film in the final days. Among those friends and classmates credited in my film were people who quite literally banded together to help me clean up line work, color shots, finish backgrounds, create special effects, composite shots, and help with post-production and credits.
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2018
This work would not have been possible without the assistance, input and support of the following people: At the University of Kent I would like to thank Dr. Jinhee Choi who first took me on to the PhD programme and supervised me during my first year. I would also like to thank Dr Maurizio Cinquegrani, my secondary supervisor, for the numerous valuable insights and pieces of advice that he provided me with. I also benefitted greatly from being able to present and try out my ideas in the safe but challenging company of my fellow PhD candidates, and this helped hone and shape my work over the years. In particular I must extend the greatest thanks to my supervisor, Prof. Murray Smith, who has been absolutely invaluable over the (slightly extended) period of time it has taken to see this project to its conclusion. I have been able to draw upon his vast experience and finely tuned academic expertise, all of which has really been the difference between finishing my thesis or not. I would also like to mention Angela Whiffen in the Film Studies department for her professionalism, expertise, and advice in a variety of circumstances. On a personal level I must acknowledge and thank my family and my in-laws for the years of support, encouragement, patience and positivity. In particular I would like to mention my brother, Ross McCartney, for his keen proofreading eye and deep knowledge of film, which helped fine-tune the final version of this work. Above all I would like to thank my wife, Natalia Rappak, for her unfailing love, support, and enthusiasm, without which I would never have reached this point.
2018
This thesis explores the impact that the internet has had on the esprit de corps of the musical community. As a mechanism for that exploration, it also includes an original composition comprised of three character pieces. The exegesis of the piece will describe the basis of these musical representations and explore the application of the piece as a vehicle for a shared musical experience across the internet. A virtual ensemble was created by crowdsourcing from social media. Participants played different parts that were combined by computer manipulation into a final product. iv PREFACE My interest in the subject of this thesis goes back to my first encounter with Eric Whitacre's Virtual Choir. I was so enthralled with the idea that a person could take individuals from all areas of the world and combine them into a single unit that participated together virtually. I thought about those people who whose only connection to the outside world might have been the internet and how wonderful it could be if they were able to collaborate on a musical endeavor with other like-minded people. Whitacre said it best when he described it as a bunch of individuals placing messages in bottles from their remote locations in hopes of making a connection. Another aspect of this project that excited me was an exploration of what this new-found collaboration would entail. How will these virtual connections progress? Will it create a community? What are the dynamics of that community? Are we seeing a glimpse of what future musical collaboration might look like? What role will social media play in this future? The answers to these questions are continuing to define themselves following this thesis. v ACKNOWLEDGEMENTS My acknowledgements have to begin with my faith in Jesus Christ. Without his guidance, grace, and mercy, I would not have been able to take on the task of seeking my master's degree. To quote Isaiah 50:4-"The Lord GOD hath given me the tongue of the learned, that I should know how to speak a word in season to him that is weary: he wakes morning by morning, he wakes mine ear to hear as the learned." My next thanks are to my family. They all have had to deal with their son, husband, daddy, etc. not being there at times so I could complete tasks toward my degree. I love all of you very much and thank you for your understanding. Next is my advisor, Dr. Stephen Lias. I want to thank you for your willingness to share your vast knowledge with me. You made me feel like a part of the SFA family even when I had first submitted a portfolio for your consideration. I am very humbled by your friendship and consider it a prized possession.
2015
This practice-based research project explores modes of thinking and writing that are generated during and after my encounter with one film, Christopher Petit's Unrequited Love: On Stalking And Being Stalked (2006). As opposed to a frame by frame analysis of film, this project explores how the anomalous affects and after-effects engendered by film, for example, the disorientations in time and memory produced by camera movement, might generate forms of 'cinematic writing'. This project approaches these affects as an integral part of the film viewing experience, and asks how they alter the way we think, feel, see, remember, and write. What connections in thought and memory can be provoked and engendered by them? How can our experience of being captivated, disoriented, and absorbed by these filmic affects be enveloped by, rather then This thesis is dedicated to my father, Peter Reid, you are, and always will be, an inspiration to me, and to the memory of my mother, Vilma Reid. I would like to thank my director of studies, Dr Maria Walsh, for her rigorous critical engagement with, and extensive reading of, this thesis. Your comments were always challenging, thought provoking, and insightful. Your continued support and guidance during the eight years it has taken to bring this thesis to completion has been invaluable. I would like to give special thanks to my second supervisor Gill Addison. Your contagious enthusiasm, support, and advice regarding the practical content of this project has been priceless. My tutorials with you were an absolute pleasure. And to Professor Stephen Scrivener for his engagement with, and enthusiasm for, a subject that I know is not his own. For your careful comments, guidance, and support I am extremely grateful. To my wonderful family, Peter Reid, Jack Reid, James Reid, and Sonia Reid, thank you for your warm encouragement. To my dearest Marc Woodhead, for your unequivocal support and kindness, I thank you from the bottom of my heart. I love you all. Thank you to Alex Rouse for the gift of time. Without that time this thesis would not have been possible.
2008
during the years 2005-2008. lowe special thanks to all the staff in the School who helped by providing supervision, pastoral care, technical and administrative help. They embraced me and my research and made me part of their extended family. I would also like to thank the School for offering support with funding the performances and other activities (attending conferences and performance festivals), which pertained to the research project undertaken and my development as a researcher and artist. I would like to thank my PhD supervisors Dr. George Rodosthenous and Professor Jonathan Pitches for their guidance, support and ongoing encouragement during my research. Their insights were invaluable in all aspects of the process, be it the theoretical background, the methodological tools, the creation of the performances and the presentation and analysis thereof. With their vast knowledge, enthusiasm and manner of scientific thinking, they have inspired me and offered me admirable researcher role models. Their help extended far and beyond the goals of this project, as they have introduced me to connections in the cultural industry and the field of performance nationally and internationally. I will owe them special gratitude eternally for opening those doors for my professional and personal development. ii Special thanks to all the staff and colleagues in the School of PCI who helped, encouraged me, attended the performances and gave me invaluable commends which undoubtedly informed my research progress. The performances would not have been possible without the immeasurable help from the undergraduate students and recent graduates who were involved in them, either as performers or technical support. I will be forever indebted to them. People outside the school who helped either knowingly or unknowingly with this project include the following: the Artistic Director of the National Theatre of Cyprus (Varnavas Kyriazis) who gave me the opportunity to work in two projects in 2008 and Marina Maleni Kyriazi (Theatrical Development, National Theatre of Cyprus) who introduced me to Eleni Varopoulou; Lea Maleni and Takis Tzamargias who are two inspiring artists/directors, collaborators and friends and gave me ample opportunity to see through their practice a world of love and care for the creation of contemporary theatre; Alex Chisholm (Literary Manager, West Yorkshire Playhouse) who trusted me with the composition of music for two of the performances she directed at the West Yorkshire Playhouse and gave me supporting feedback on my research work; Michael Fentiman who allowed me a view into his directorial approach and offered me opportimities for exciting collaborative projects; Riccardo Meneghini, who is an inspiring dancer/choreographer, friend and collaborator and provided help with the physical aspects of my work; Dr. DuSka Radosavljevic, who constantly supported my effort to delve into the artistic discipline with an open mind and creative intend; Markos Hadjioannou, who encouraged me through endless discussions on theoretical/philosophical issues iii and technical support with the perfonnances and Marina Christodoulou for her inspiring love for art and creative help with posters and programmes. I would also like to thank Eleni Varopoulou and Professor Hans-Thies Lehmann, not only for their invaluable writings, but also for the wannth with which they approached our correspondence, either bye-mail or in person. Last, but not least, my greatest gratitude is extended to my family: my loving parents and sister. I would not have been here if it were not for their endless love and support in every way imaginable. lowe them more than words could ever express and I dedicate this project to them who made it feasible.
My PhD at the University of the Creative Arts, 2010
Proceedings of the Wisconsin Space Conference, 2016
Greetings from the middle? End? Just the beginning? of the latest government shutdown. As I write, I'm slouched in an overstuffed chair in the lobby of the historic Hotel El Capitan in Van Horn, Texas. Van Horn is in remote west Texas, more than 100 miles from the nearest Walmart. Here three students and I await, once again, the probabilities to multiply in our favor and allow (finally) a launch of the Blue Origin New Shepard rocket carrying our payload experiment. Two generations of students have worked on this experiment across several years. This is the second trip in support of this launch, the first scuttled by unspecified ground support issues and the beginning of the government shutdown in late December, 2018. Here we are again, one month later, awaiting word on whether this launch attempt will proceed. All of the payloads on the launch manifest are NASA-supported, but no NASA personnel can legally be here to support their experiments. Something important is missing here. While the effects of the shutdown on both NASA and commercial launch activities are clear and present this month, the effects on the WSGC and on Space Grant programming generally is still unknown. We continue to make scholarship awards, support student and faculty research, and encourage the development of STEM outreach and engagement. For how much longer is unclear. With each award we are farther out on a limb with no guarantee that the funds to make good on the awards will arrive. One thing is certain, when politicians decide to resume supporting the basic functions of government, the spin-up of agency operations will be slow and chaotic. The very smallest pieces of the federal pie, like the Space Grant program, will continue to reel from the effects of D.C. chaos long into the new year. The down-time did give us a chance to find inspiration in a different direction. Launch delays and the vagaries of the shutdown have given my students and I excellent opportunities to hike and explore the ancient lands of West Texas. If we can't make it to space this week, we can at least take solace in having made it to Guadalupe Peak, the highest point in Texas, from which one can survey thousands of acres of national park land, closed to visitors for the foreseeable future.

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