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Place after place
No full textErgin Cavusoglu is currently considered to be one of the most interesting video artists in Great Britain. His video installations reflect the complex and incessantly changing migration of people between places and countries. Often filmed in harbors, airports or marketplaces, his
videos treat the themes of the journey and the process of movement which determines our reality. In this way they tell in a lyrical manner of the personal experiences of individuals within a widespread collective history.
(from gallery website
Abode And Point To The Eye (Saygun Dura's exhibition at Millî Reasürans Art Gallery, Istanbul)
No full textWhile Dura puts emphasis on the concept of migration on the show “Abode And Point To The Eye”, his experiential engagement with his subject is also phenomenological. Migration is constituted of three phases, leaving the home, a liminal or transitional phase and finally, arrival. The wealth of Dura’s technical experience is evident in this body of complex, large-scale colour photographs taken underwater, at varying depts.
There are two distinct series of large-scale photographs in the show, looking at the frenzy of activities on the surface and the eery, otherworldly calmness at the bottom of the lake. One of the series represents the migration of the pearl mullet, known to be the only species to inhabit Lake Van in Eastern Turkey.
Whereas there is a plethora of subtexts in the depiction of this almost ritualistic act of survival, the images are primarily concerned with matters of urgency, presenting the universal codes of nature to reproduce, adapt and evolve.
The second body of works depicts microbialites, the pearl mullet’s natural habitat in the lake's shallow ends. Yet in this case, they are depicted as empty or abandoned by their tenants. Possessing the largest organosedimentary deposits (microbialites) reaching several meters in height, Lake Van is quite unique (Kempe et al., 1991). The scenes are eerie and ghostly. The images simultaneously capture the contrasting feelings of serenity, silence, and drama existing at the bottom of the lake
Adaptation – Cinefication
No full textErgin Çavuşoğlu’s Adaptation – Cinefication is made up of two distinct elements. The exhibition examines the artist’s engagement in the past with painting in its classical and contemporary guises, and juxtaposes them with his better-known film installation works. Çavuşoğlu thus retraces recurring preoccupations in his practice, showing older work in a new context.
The wider concept refers directly to the ‘The Soviet project of “cinefication” that represents the most grandiose scheme of film distribution, exhibition, and reception that the world has known to date.’, as described by Thomas Lahusen. Çavuşoğlu borrows this framework to comment on the current globalised system of ‘cinefication’ of the arts.
Architecturally the gallery is divided in two mirrored spaces on street level. The Adaptation component is presented in one fully front glazed room with a series of paintings from the 1990s, most prominently the Instant (1998) series. In the opposite darkened space Cinefication takes on the form of a film screening. In a theatre-like space, furnished with rows of cinema chairs, Çavuşoğlu shows a number of new pieces such as Résurrection des Mannequins (2014), as well as elements from his recent repertoire of video works, for instance And I Awoke (2012). Alongside the paintings Çavuşoğlu exhibits several small-scale readymade and ‘naturemade’ sculptures. Çavuşoğlu intends his works to be read like chapters in a literary text
'Alterity' at the 29th International Adana Golden Ball Film Festival 2022
No full textAlterity
2011 / 18’ 54” / Black and White / Turkey and United Kingdom
Director: Ergin Çavuşoğlu
Screenplay: Ergin Çavuşoğlu (based on converging conceptual elements from Robert Bresson’s “Au Hasard Balthazar” (1966) and “Crystal & Flame” (2010) by Ergin Çavuşoğlu)
Director of Photography: Emre Erkmen
Music: Music Schubert - Piano Sonata No. 20 and Esben Tjalve
Performed by Esben Tjalve
Editing: Ergin Çavuşoğlu
Sound Edit: Jonathan Cronin
Cast: Dilay Tüzün, Hazel Ece Tüzün, Umut Yontar, Hasan Kaşıkçı, Ahmet Bedel, Yavuz Deveci, İsmet Çavuşoğlu, Zeki Alemdar, Söner Deniz, Şaban Kokaş
Producer: Ergin Çavuşoğlu and RAMPA, Istanbul
Line Producer: İsmet Çavuşoğlu
Distribution: Ergin Çavuşoğlu
Summary:
Alterity was produced in 2011 as a gesture of conceptual engagement and clarification bridging two converging cinematographic ideas. On the one hand, the film reinforces the influence of “brute reality and the asininities of destiny” (Steven Bode and Sara Raza; 2011; Ergin Cavusoglu – Alterity), alluding to Robert Bresson’s film ‘Au Hazard, Balthazar’. On the other hand, it invokes directly in its iconography and symbolism a key element in Çavuşoğlu’s video work from 2010 entitled Crystal & Flame (2010). One screen of this multichannel video installation shows a narrator telling a story about an alternate economy and illicit trade of smuggling that employs children to transport black market goods on donkeys’ backs between the landmine-strewn Turkish and Syrian border, resulting in inevitable death. In Bresson’s film, a humble donkey enacts its own “lumpen via dolorosa, as it is passed on from owner and subjected to increasing indignities” (Bode and Raza; 2011). Alterity thus fuses the two tales intentionally bypassing the ill fate of the children in both stories to depict the donkey as the martyred central protagonist in a suspense-ridden tale of morality and treason set against the rural and rugged scenes of nature. The film was produced in Bressonian ascetic style working with non-professional actors on location in Malkara. The landscape is reminiscent of the one in Bresson’s film - the Pre-Pyrenees in France
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
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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