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Shaping shadows: a practice of expansion painting
No full textShaping Shadows: A Practice of Expansion Painting is a practice-based doctoral thesis. It centres upon a sustained art practice, offering a body of new work as a means to extend an understanding of painting in the expanded field. The practice in question is defined as a ‘sense’ of painting space, which operates through painterly compositional methods but developed through site-specific considerations of architectural spaces, bodies, and differing levels of consciousness when interacting in such spaces. The artworks range in scale from small punctuations in a room to large installations that fill and resonate with a defined space. The works are typically constructed out of unobtrusive materials, notably Japanese tissue papers, fabric, MDF board and wood, but crucially they are also ‘made’ of the immaterial elements of light, air and shadows. In differing ways, the works are experienced and completed by both artist and viewers, so establishing a set of conditions in which one’s individual thoughts and space-body dynamics are in play.Rather than simply presenting the work as further examples of painting in the expanded field (i.e. as a discursive, conceptual re-categorisation of painting), the thesis explores through its art practice a form of ‘expansion painting’, by which it is meant the artist’s sense of painting deliberates upon an expanded awareness of spaces, the in/visible materialities of light, shadow, air, and memories that accumulate from inner, private imagery and external shapes, patterns and forms. As a key element, medium and metaphor, shadow is at the heart of my practice research. It is both a component of practice and a metaphor of ambivalence (being both of and outside of an object, and suggestive of both distinctive and indistinct forms). Shadow becomes an ideal term and site of practice to build and examine subtle as well as alternative systems or structures, often ones that echo or ‘shadow’ existing dynamics of space, so that a ‘relief’ of images emerge, and/or are activated (as experienced physically in the space, and in the mind while engaging in the work). As such, the resulting artworks seek to provide an awareness of ‘being’ through what is referred to as ‘structures of ambiguity’.The thesis is brought together through both its practice and a written component. The latter offers an Introduction, setting out the main themes and concepts as well as ‘Notes on Practice’, which presents a ‘catalogue’ of the artworks produced. These opening components are followed by two main chapters. Chapter 1, ‘Painting in the Expanded Field’, establishes the historical and theoretical debates of painting in the expanded field and draws upon more recent literatures specific to the expansion of painting. It then considers the artist’s own work in relation to a series of examples of historical and contemporary practice (including remarks on the influence of minimalist art, as well as three specific case studies of contemporary artists whose works explore similar themes and material practice). Crucially, through ‘practicing’ a sense of painting space – defined as expansion painting – a phenomenological reading is undercurrent, which in turn enables a critical consideration of ‘structures of ambiguity’, which is the focus of Chapter 2, ‘Structures of Ambiguity: Grid, Frame, Screen and Stage’. This chapter offers an explicit account and contextualising of the mediums, materials and effects of the works. It leads to another way of seeing, as a deconstruction of space and in-between spaces. The thesis document concludes with ‘Finish: a Practice of Expansion Painting’, which draws together the key themes of the research through further contextualization of art history and theory. Expansion painting is not simply derived from historical, theoretical and philosophical debate, but must emerge through making and viewing the artwork as an open-ended experience. The artworks ‘finish’ at different moments of our being; they also respond to intellectual debates about the status of painting after the modern; and they are made of a very particular im/material ‘finish’ that is the signature of the practice. The underlying problematic of this thesis is the consideration of where objects and experiences begin and end, where boundary lines do or do not run. The ‘shaping’ of shadows is an attention to existing, spatial structures and their confluence with virtual structures of thought and experience. Thus, the medium of painting itself is pushed and pulled in this research, both expanding upon theoretical debates of the ‘expanded field’, as well as advancing its own practical inquiry. Indeed, ‘painting’ is presented as an exemplar of thinking and making.<br/
Original Documents of Yung cheng chu p'i yü chih
Get PDFThe palace memorials bearing vermillion endorsements handwritten by Ch’ing Emperor Yung-cheng in the possession of the National Palace Museum, Taipei, number more than 22,300 in Chinese, published, unpublished and not to be published, and 890 in Manchu. The Chinese palace memorials published in Yungcheng chu p’i yü chih are only about 7,000; that is, two thirds of the documents still remain unpublished. Comparison of the published documents with their originals reveals considerable textual differences. The published texts frequently omit a passage and replace words and phrases. Many of such abridgements appear to result from political considerations. Stylistically, vernacular forms that often cloud the text of the originals are replaced by classical, more precise expressions in the published text. The same can be said of the imperial vermillion endorsements by Yung-cheng. This must be the result of the editing by the literate staff of the Hanlin Academy done at the time of publication on the original text of the palace memorials that were mostly composed by official clerks, private secretaries who were failed Civil Service Examination candidates, and military officers who had little culture. Also clerical errors found in the originals are corrected in their published form. It should be noted, moreover, that the passages stricken out in the originals by Yung-cheng’s vermillion brush, which are not reproduced in their published form, sometimes carry highly important information. Thus the original documents of Yung cheng chu p’i yü chih are, not only superior in quantity to the published edition, but extremely valuable as primary historical sources. There is not the slightest doubt that, if the originals are printed as they are, study of the history of the Yung-cheng period will advance tremendously.journal articl
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Globalization and value hybridization: Female marriage migrants in Taiwan and the Netherlands
No full text[[sponsorship]]歐美研究所[[note]]已出版;有審查制度;具代表
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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe 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
Get PDFWe 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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