1,721,335 research outputs found
Alison Jones Technical Production
No full textThe Alison Jones Technical Production Collection comprises materials and resources that capture the often-unseen practices of design, management and technology within live performance and theatre production. The collection documents the students’ work in the Bachelor of Fine Arts (Technical Production) across QUT performances and events. It stands as a heritage archive and educational resource for students, alumni, educators and practitioners in the field.
The Alison Jones Technical Production Collection is an ongoing collaboration between Technical Production staff and students.
Initial Project development; Carly O’Neill, Anthony Brumpton, Dale Norris (Technical Production), Jill Rogers (Library), and Matthew Kerwin (EIS).
* [All Items](/view/collections/3728/): broken down by type
* [Performance](/view/sub-collections/3728/): grouped by performance name
[About Ali Jones](/collections/technical-production/about.html
Standing By 2017 Alison Jones Technical Production Collection Speech
Full text linkAlison Jones Technical Production Collection Speech for the 2017 Technical Production Showcase, Standing By 201
Stripping Sight Bare : Alison Jones’ ‘Portraits by Proxy’
No full textIn this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image
C21st ART-WORKER
No full textAlison Jones and Milly Thompson were Lanchester Gallery Projects 2013 Autumn Artists-in-Residents, continuing the long-standing discussion and project that erupts every now and again for an altered re-iteration and re-thinking. For this they produced a ‘poster’, a photomontage which considers gendered labour set against the backdrop of the C21st art world. 'C21st ART-WORKER', 2013 and 2016. Commissioned by Lanchester Gallery Projects and Deptford X respectively, 'C21st ART-WORKER', 2013 was installed on a ClearChannel Adboard in Coventry City Centre and in 2016 a re-worked version was installed on an Adboard in Old Street, London during the launch of 'C21ST RECENT HISTORY, Valentines Day 2016', in February, 2016. A stack of mass-produced A3 riso prints of 'C21st ART-WORKER', in navy, was available as a free carry-out from LGP in association with the exhibition 'Stolen planks from under the bourgeois phalanx', 2013. 'C21st ART-WORKER' was part of the collaboration with Alison Jones that is documented in the publication 'C21ST RECENT HISTORY', published in 2016 by LGP. (See C21ST RECENT HISTORY, 2016
C21st RECENT HISTORY, 2016
Full text linkAn artist’s book comprising the artwork, documentation and conference papers of 5 collaborative projects and exhibitions by Milly Thompson and Alison Jones between 2012-16. The project rethinks the conditions of art through feminism, showing off, distinction*, luxury, glamour and ‘being hot’. It is a hand-assembled, riso and digital print book with fold-out inserts, posters ephemera etc.
C21st Recent History makes an original contribution to current understanding of gender and power in the field of art through its exploration of dialogical and opposing positions of the woman artist. It identifies and occupies a series of interrelated positions available to female artists at the start of the C21st, juggling feminism, neo-liberalism, individualism, gender power, hypocrisy, ambition, fashion and embodiment. The project acknowledges that there are many feminisms which range the political spectrum, and builds on current knowledge by opening up the terrain of feminist practice across
• A Marxist critique of commodity culture
• Institutional critique
• Individual desire
• critique of the neoliberal subject
• within the context of affective labour in the artworld
The research matters to art theorists and practitioners in the field of non-cis male art because it connects a number of previously distinct positions in relation to the creation, distribution and dissemination of art and ideas within the artworld.
The research collaborates with canonical feminist artists Rosler, Meckseper, Wermers whose works focus on a critique of commodity aesthetics. The artist book form is integral to the research being a desirable highly tactile and sexualised limited edition comprising all the documentation, polemical texts, posters, press releases as well as advertisements for the artists.
Through precise juxtapositions of artistic subjectivity with self promotion, affective labour and the art market, and the politics of feminism and the politics of post feminism, C21st Recent History interrogates the ideologies of the contemporary art world and its markets.
The various strands of the research/exhibition/projects included are:
• The exhibition Martha Rosler Reads Vogue (2010), setting feminism against post-feminism, worthiness intermingled with the guilty fandom of glamour in culture and the art world. Artists: Alison Jones, Martha Rosler, Milly Thompson
• The exhibition Evasion (2012) perfomed opposition nestling in co-dependency as a trope. Artists: Alison Jones, Josephine Meckseper, Martha Rosler, Milly Thompson, Nicole Wermers
• Thompson and Jones’ gallery performance Evasionista (2012) and public billboard C21st Art Worker (2013/16) enacted the feminine labour of the gallery assistant through which she activates the cultural context for the objects on display.
• The magazine Vuoto elides artisic integrity and self-promotion with an editorial by Nina Power. Artists: Alison Jones, Josephine Meckseper, Martha Rosler, Milly Thompson, Nicole Wermers
• An invited panel of academics addressed the ideas proposed in Evasion; the papers are reproduced in C21st RECENT HISTORY. Papers from Nicholas Cullinan, Mark Harris, Ian Hunt, Angela McRobbie and Monika Szewczyk
• Michael Archer did an introductory talk at the book launch.
C21st Recent History is held in many libraries, including the Feminist Art Library in Goldsmiths. It was included alongside 'VUOTO in the exhibition 'THE GEO POLITICS OF MONETIZED AIRSPACE — Come Fly with Me, I Meet You by the Airside Gucci Concession at 4, Fox Fur Hat', at Midway Contemporary, Minnesota, in 2017
Vertical Agreements
No full textAlison Jones looks at vertical agreements in Chapter 3. This chapter charts the development of UK competition law and policy towards vertical agreements over the 20 years since the Competition Act 1998 came into force. It traces how UK policy has evolved, before examining the UK jurisprudence that assesses the compatibility of vertical agreements with competition law. It notes that although many UK cases initially focused on resale price maintenance, more recently a number have analysed vertical restraints affecting online selling, which have proliferated since 2000 with the rapid growth of e-commerce. The chapter also considers how the law could, or should, develop in the future, especially now the transition period following the UK’s departure from the EU has ended. An important issue considered is whether, post-Brexit, the UK authorities should continue to follow EU competition law in this sphere, which has in significant respects been influenced by internal market considerations, or whether it should take a different course.</p
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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