3,535,991 research outputs found
Co Curator / Selector for 'NOISEfestival', 2008
No full textBillingham was a co - curator for NOISEfestival 2008.
NOISEfestival.com was launched in Liverpool on 23rd February 2006 during the 2006 Liverpool Biennial. It was the UK’s first independent online arts showcase, presenting the best people under-25 in any artistic discipline that could be presented digitally. The platform was initiated following a highly successful blueprint from international events in Singapore and Australia.
It included fashion, music, film, photography, fine art, design, architecture, the written word, graphic design, new media and illustration. NOISEfestival served as a virtual exhibition and aimed to project the next creative generation to a mass audience. It also helped talented young people break into the Creative Industries, serving as a professional network for young artists. It connected for example, musicians with filmmakers, fashion designers with photographers and writers with illustrators.
The best work submitted was judged by a panel of Curators. For the 2008 festival, besides Billingham (Photography), the panel also included Zaha Hadid (Architecture), Badly Drawn Boy (Music), Tom Dixon (Product Design), Norman Rosenthal (Fine Art), James Sommerville of Attik (Graphics & New Media), Warp Films (Moving Image) and Big Active (Illustration).
Media partnerships included MTV, BBC and MSN. There were exclusive events online and profiles of NOISEfestival.com artists across television, radio and print, including a dedicated NOISEfestival.com TV channel
Portrait of Robert Dessaix in the National Library of Australia bookshop, Canberra, 10 October 2008, 1 [picture] /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author Robert Dessaix in the National Library of Australia bookshop, Canberra, 10 October 2008.; Acquired in digital format; access copy available online.; Mode of access: Internet via World Wide Web.; Photographed by a staff member of the National Library of Australia
Portrait of Robert Dessaix in the National Library of Australia bookshop, Canberra, 10 October 2008, 2 [picture] /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author Robert Dessaix in the National Library of Australia bookshop, Canberra, 10 October 2008.; Acquired in digital format; access copy available online.; Mode of access: Internet via World Wide Web.; Photographed by a staff member of the National Library of Australia
Leveraging folksonomies for ontology evolution in e-learning environments
No full textOne of the main obstacles for wider adoption of semantic rich e-learning systems is the difficulty in creating and maintaining domain ontologies describing courses. Annotations, such as those resulting from collaborative tagging, provide a new source of information which can be used to ease the process of author-ing and updating domain ontologies. This paper presents an extension to the LOCO-Analyst tool, which leverages student folksonomies to support instructors when revising and updating course domain ontologies. The support is based on a computation of relatedness between ontology concepts and students tags which takes into account the "context" defined by the domain ontology. The computed scores are visualized in a tag cloud along with tag popularity scores, to allow instructors to easily comprehend the emergent feedback of their students. This approach allows for a simple and intuitive method for instructors to associate tags with concepts in their domain ontology
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Jetty at Thursday Island, Queensland, 2008 [picture] /
No full textTitle devised by cataloguer based on information from acquisition documentation.; Part of the collection: Arpaka Dance Group and Thursday Island infrastructure, Queensland, 2008.; Acquired in digital format; access copy available online.; Mode of access: Internet via World Wide Web.; Donated by Charles J. Page, 2008
Computer shop, Thursday Island, Queensland, 2008 [picture] /
No full textTitle devised by cataloguer based on information from acquisition documentation.; Part of the collection: Arpaka Dance Group and Thursday Island infrastructure, Queensland, 2008.; Acquired in digital format; access copy available online.; Mode of access: Internet via World Wide Web.; Donated by Charles J. Page, 2008
Post office, Thursday Island, Queensland, 2008 [picture] /
No full textTitle devised by cataloguer based on information from acquisition documentation.; Part of the collection: Arpaka Dance Group and Thursday Island infrastructure, Queensland, 2008.; Acquired in digital format; access copy available online.; Mode of access: Internet via World Wide Web.; Donated by Charles J. Page, 2008
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
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