87,643 research outputs found
Inventory for a Reverse Journey. Photographic Image and Found Object - An investigation of travel and material transformation as a paradigm of artist's practice: Ed Ruscha, Douglas Huebler, Bas jan Ader, Jimmie Durham, Gustav Metzger, Kurt Schwitters & Cian Quayle.
No full textInventory for Reverse Journey is the title of a collection of photographic artefacts and found objects, which I have collected over the last twenty years. The title refers to one specific type of artist's journey, which is applicable to the `chronotope' of my archive, as a `metaphorical journey in space and time' (Bakhtin 1981, p. 81). The `city',`provincial town', `road', `threshold' and `interior' are recurrent motifs, which Bakhtin fused together to describe the historical evolution of the novel in relation to its different genres. Bakhtin's motifs are expanded as the basis of an evolutionary nomenclature of the artist's-journey, as a form of spatial mapping and identity formation. Alongside other sources from literature (Alain Robbe-Grillet), cinema (Michelangelo Antonioni), psychoanalysis (Kierkegaard) and critical theory (Walter Benjamin) I have developed a theoretical framework, which initially originated in an empirical process, that is reflected in the antecedents of this project. The research process, as a journey itself, has concretised this approach within a systems-based practice. This is mirrored in the work of the artists under investigation, as their differences and similarities are highlighted within a broad contextual analysis. Accordingly the tone of the writing shifts its register at different points in the thesis.
My journey is just one example of several paradigmatic formations of `travel' as a strategy, which investigates the work of six different artists, as a voluntary or involuntary form of exile. A deskilled use of the photographic image is examined in the work of Ed Ruscha, Douglas Huebler and Bas jan Ader in the spatial mapping of their chosen locations. The work of these artists manifests travel, as a strategy, in a benign form of regional and expatriate exile. The investigation shifts its focus from the New World to Europe, where the work of Jimmie Durham, Gustav Metzger and Kurt Schwitters is analysed in relation to their transformation of found objects and materials, and their relationship with a former 'home'. Their position registers different degrees of the `impossibility of return' to a point of origin, which exists in the mind rather than as a physical location. The transience of their work, and use of disparate materials, is counterbalanced by their physical presence in the work. Conversely Ader, Huebler and Ruscha are linked by a scale of decreasing visibility, as they are sublimated within their work in the formation of, what is now construed as, a unique photographic presence. The starting point for which is a return to the formative years of conceptualism in the 1960's, which set the scene for Durham and Metzger from the 1970's onwards. The spectre of Schwitters practice of forming (Formung) and unforming (Entformung) is significant for my analysis of the dematerialisation of the art-work and artist, by processes of series and repetition, distance and proximity, movement and stasis. Although `travel' is a ubiquitous term, I continue to use it as a portmanteau, which carries with it the themes and `salient' features of a typology of artist's journeys. In a moment of perceived obsolescence as digital information systems engender a culture of `selective-amnesia', these thoughts have informed my work, which runs parallel to the artist case-studies, and the material transformation of the photographic image and found object
doi:10.1093/imanum/drl033 Advance Access publication on November 10, 2006 Analysis of ADER and ADER-WAF schemes
No full textWe study stability properties and truncation errors of the finite-volume ADER schemes on structured meshes as applied to the linear advection equation with constant coefficients in one-, two- and threespatial dimensions. Stability of linear ADER schemes is analysed by means of the von Neumann method. For nonlinear schemes, we deduce the stability region from numerical experiments. The truncation error analysis is carried out for linear ADER schemes in one-, two- and three-space dimensions and for nonlinear ADER schemes in one-space dimension
DeC and ADER: Similarities, Differences and a Unified Framework
No full textIn this paper, we demonstrate that the explicit ADER approach as it is used
inter alia in [1] can be seen as a special interpretation of the deferred
correction (DeC) method as introduced in [2]. By using this fact, we are able
to embed ADER in a theoretical background of time integration schemes and prove
the relation between the accuracy order and the number of iterations which are
needed to reach the desired order. Next, we extend our investigation to stiff
ODEs, treating these source terms implicitly. Some differences in the
interpretation and implementation can be found. Using DeC yields typically a
much simpler implementation, while ADER benefits from a higher accuracy, at
least for our numerical simulations. Then, we also focus on the PDE case and
present common space-time discretizations using DeC and ADER in closed forms.
Finally, in the numerical section we investigate A-stability for the ADER
approach - this is done for the first time up to our knowledge - for different
order using several basis functions and compare them with the DeC ansatz. Then,
we compare the performance of ADER and DeC for stiff and non-stiff ODEs and
verify our analysis focusing on two basic hyperbolic problems.
[1] O. Zanotti, F. Fambri, M. Dumbser, and A. Hidalgo. Space-time adaptive
ader discontinuous galerkin finite element schemes with a posteriori sub-cell
finite volume limiting. Computers & Fluids, 118:204-224, 2015.
[2] A. Dutt, L. Greengard, and V. Rokhlin. Spectral Deferred Correction
Methods for Ordinary Differential Equations. BIT Numerical Mathematics,
40(2):241-266, 2000
Variations on the Author
No full text“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
Crying game: Bas Jan Ader and Laurel Nakadate's aesthetics of sadness
No full textThe ways in which we construct our identities and relate to each other are often composed of complex negotiations between the mind and body. Communicating an internal and ephemeral emotion, then, proves to be one of the most complicated aspects of the self to relate to another being. Bas Jan Ader and Laurel Nakadate each confront this existential concern through an investigation of sadness in their respective performative pieces I 'm too sad to tell you (1973) and 365 Days: A Catalogue o f Tears (2010). My project draws on social art history and Elaine Scarry's discussion on the representation of the physical pain of torture in The Body in Pain to deconstruct how sadness is physically externalized and visually represented by the artists. This framework helps map out how Ader and Nakadate perform, experience, test, and document sadness to examine issues of human connection. As networked media becomes a part of a rapidly developing culture changing how individuals represent themselves, conduct their social lives, and relate to one another, questions about communicating subjective experience are of heightened significance. Contextualized within their social and cultural moments Ader and Nakadate's projects can be viewed not only as studies on the aesthetics of sadness, but also as vehicles to analytically reconsider how the experience and communication of emotion might be conceived as deeply historical phenomena
Crying game : Bas Jan Ader and Laurel Nakadate's aesthetics of sadness
No full textThe ways in which we construct our identities and relate to each other are often composed of complex negotiations between the mind and body. Communicating an internal and ephemeral emotion, then, proves to be one of the most complicated aspects of the self to relate to another being. Bas Jan Ader and Laurel Nakadate each confront this existential concern through an investigation of sadness in their respective performative pieces I ???m too sad to tell you (1973) and 365 Days: A Catalogue o f Tears (2010). My project draws on social art history and Elaine Scarry???s discussion on the representation of the physical pain of torture in The Body in Pain to deconstruct how sadness is physically externalized and visually represented by the artists. This framework helps map out how Ader and Nakadate perform, experience, test, and document sadness to examine issues of human connection. As networked media becomes a part of a rapidly developing culture changing how individuals represent themselves, conduct their social lives, and relate to one another, questions about communicating subjective experience are of heightened significance. Contextualized within their social and cultural moments Ader and Nakadate???s projects can be viewed not only as studies on the aesthetics of sadness, but also as vehicles to analytically reconsider how the experience and communication of emotion might be conceived as deeply historical phenomena
[Newspaper Clipping: Author Claims Evidence of Second JFK Assassin #1]
No full textNewspaper article titled "Author Claims Evidence of Second JFK Assassin." The article states that author Richard J. Whalen concluded "that there is circumstantial evidence to support the theory of a second assassin in the shooting of President John F. Kennedy.
Also By The Same Author: AKTiveAuthor, a Citation Graph Approach to Name Disambiguation
No full textThe desire for definitive data and the semantic web drive for inference over heterogeneous data sources requires co-reference resolution to be performed on those data. In particular, name disambiguation is required to allow accurate publication lists, citation counts and impact measures to be determined. This paper describes a graph-based approach to author disambiguation on large-scale citation networks. Using self-citation, co-authorship and document source analyses, AKTiveAuthor clusters papers, achieving precision of 0.997 and recall of 0.818 over a test group of eight surname clusters
John F. Kennedy telegram to Roosevelt
No full textJersey Homesteads (later the Borough of Roosevelt) was established in the 1930s as an agro-industrial cooperative community. It was established specifically for urban Jewish garment workers, many of whom had emigrated from Europe. President John F. Kennedy sent a telegram to the citizens of Roosevelt, New Jersey, apologizing for not being able to attend the memorial dedication in honor of former President Franklin Delano Roosevelt. (Jersey Homesteads became Roosevelt in 1945 in honor of the president.) President Kennedy expressed his gratitude to the people of Roosevelt for constructing the memorial, and commented that it will serve as a constant reminder of Roosevelt's good works
Logarithmic variance profiles and the corresponding f-1 spectra of temperature fluctuations in turbulent Rayleigh-Bénard convection
No full textWe report experimental results for the temperature variance 2(z) and the corresponding frequency spectra P(f) in turbulent Rayleigh-Bénard convection (RBC) in a cylindrical sample of aspect ratioT= D/L = 1:00 (D = 1:12 m is the diameter and L = 1:12 m the height). The measurements were conducted in the Rayleigh-number range 1011 < Ra < 1:35 1014 and Pr ' 0:8. For Ra = 1:35x1014, 2(z) could be described well by a logarithmic dependence on the vertical position z in a range of z 1 < z < z 2 with z 1 ' 70 and z 2 = 0:1L. Here L=(2Nu) is the thickness of a thin thermal sublayer adjacent to the horizontal plate where the heat flux (denoted by the Nusselt number Nu) is carried mostly by thermal diffusion. In the log layer, we found that the temperature spectra had a significant frequency range over which P(f) f with close to 1. As Ra decreased, increased so that the log layer became thinner. At Ra = 2:05 1011, z 2 < z 1 and therefore there was no range for a log layer. Correspondingly, the temperature spectrum near the horizontal plate did not have the f1 scaling form either
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