1,720,970 research outputs found
Shona Illingworth: Balnakiel
No full textShona Illingworth is known for her powerful and evocative video and sound installations. In this, her most ambitious work to date, the artist returns to the place in which she grew up - the remote community andformer radar base of Balnakiel, on the North West Coast of Scotland. The film work at the centre of the exhibition offers a vivid portrait of this remarkable location, situated at the furthermost edge of Britain. Here, the extremes and vicissitudes of weather are echoed by the intermittent thunder of RAF and Royal Navy manoeuvres, as the area remains an active bombing range. Balnakiel reveals this brooding, melancholy landscape and the lives of successive residents, both of Balnakiel and the nearby, older clearance village of Durness, which has its own violent legacy dating from the time of the Highland Clearances. The personal journeys of a young girl and the voices and recollections of other local inhabitants build a captivating picture of this community situated at the forefront of social and cultural change. The work considers the complex interaction between individual and collective memory, informed by a series of exchanges with cognitive psychologist Martin A. Conway. Through these conversations, the artist has produced a range of scientific drawings that, alongside the film, attempt to map a new understanding of the experience and behaviour of human memory in the face of trauma.The exhibition also features a powerful collection of photographic portraits of the Balnakiel community, taken by Illingworth. Celebrating the resilience of these isolated settlements, while noting the slow and progressive history of depopulation that haunts this landscape, Balnakiel gives voice to contrasting perceptions and constructions of the past.Shona Illingworth has exhibited extensively in Europe, Canada and the UK and has received a number of high profile awards, including commissions for Channel 4, the Hayward Gallery and the Wellcome Trust. She lives and works in London<br/
Geneva express: Graham Ellard and Stephen Johnstone
No full textGraham Ellard and Stephen Johnstone’s ‘Geneva Express’ was a multi-screen video installation that received its maiden outing as part of the group exhibition ‘Airport’, curated by Film and Video Umbrella and the Photographers’ Gallery. Tracking the routine arrivals and departures of the same 747 jumbo jet, as if counting it in and counting it out from its ‘home’ airport of Gatwick, two facing screens capture the miraculous if lumbering beauty of each take-off and landing as the ear-splitting boom of the aircraft’s passage reverberates around the spac
Anarcadia: Ruth Maclennan, Foreword
No full textPublication related to Ruth Maclennan: Anarcadia exhibition at John Hansard Gallery, 2010/201
Breda Beban: I can't make you love me
No full textI CAN’T MAKE YOU LOVE ME is an exhibition of new work by adopted British artist, Breda Beban. In using film, video and photography to enact deeply personal narratives, it shares many of the characteristics of Beban’s recent solo exhibition, STILL (shown at Site Gallery, Sheffield in 2000). Both exhibit a restless tension between ‘Balkan’ and ‘British’ cultural identity. However, whilst STILL centred on feelings of loss in relation to death, I CAN’T MAKE YOU LOVE ME examines contradiction in relation to love.The exhibition revolves around a two-screen projection which combines tracking shots of a dialogue between Beban and her British former lover with haunting images (shot by internationally acclaimed cinematographer Robby Müller) of Beban and a Romany band drifting on a raft along the Danube in Belgrade, while performing the walk of the three chairs. The juxtaposition of stills of abandoned beds, views through windows and the sound of a traditional Balkan song Who Doesn’t Know How to Suffer Doesn’t Know How to Love, function to emphasise the inconsistency and fragility of lov
An English Journey: Andrew Cross
No full textAn English Journey is the first solo touring exhibition in the UK of work by artist Andrew Cross. Short-listed for Beck’s Futures 2004, Cross began working as an artist in 2000 following an established career as a curator.An English Journey presents two specially commissioned film works and a series of photographs exploring the seemingly prosaic experience of a place through continual transit. Always changing, both films move through concurrent landscapes that one can never remain situated in. 3 hours from here was filmed through the unusual but privileged viewpoint of a heavy goods vehicle. This piece is strangely mesmerising and hypnotic, contradicting one’s expectations of a post-industrial countryside that appears largely untouched and unrecognisable. The second film in the exhibition, Where a man might well first land, illustrates the pictorial quality of Cross’ work. Revealing a serene, almost Turneresque landscape, the film gradually evolves, detailing fragments of information as it describes a ships’ passage along the Solent estuary towards the port of Southampton before returning back out to se
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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