1,722,878 research outputs found
Cornford & Cross
No full textThe book followed a touring solo exhibition by Cornford & Cross and featuring 33 projects since 1994
Stephen Cornford & Ben Gwilliam's installation
No full textA recording featuring the collaborative installation by Stephen Cornford & Ben Gwilliam at Modern Art Oxfor
Creating Something that Feels Alive: Sound Design for Katie Mitchell, Donato Wharton in Conversation with Tom Cornford
No full textBASEL II: THE REVISED FRAMEWORK OF JUNE 2004
Get PDFA major aim of Basel II has been to revise the rules of the 1988 Basel Capital Accord in such a way as to align banks´ regulatory capital more closely with their risks, taking account of progress in the measurement and management of risk and of the opportunities which these provide for strengthened supervision. Achievement of this aim has involved the incorporation in Basel II of methods for quantifying banking risks introduced since the late 1980s. The task of the designers of Basel II has been complicated by the way in which the BCBS´s rules for banks´ capital, originally intended for the internationally active banks of its member countries, have become a global standard widely applied in developing as well as developed countries. Acceptance of this role by the BCBS has entailed a global consultation process, whose results have been reflected in three consultative papers and the RF, and the different approaches and options for setting numerical capital requirements which are intended to accommodate banks and supervisors of different levels of sophistication. As well as providing a commentary on the main features of the RF this paper documents the response of the BCBS to some of the more important points which were raised during this consultation process, including the outcome of decisions taken at a meeting in Madrid in October 2003 following comments on the consultative paper of April 2003, and summarises the results of the most recent of the BCBS´s initiatives to estimate the quantitative impact of the Basel II rules on banks´ capital. This discussion includes a review of papers issued by the BCBS as part of the last stage of its work preceding the RF.
Reconstructing theatre: the Globe under Dominic Dromgoole
Get PDFIn this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of 'intimate' acting with 'small theatres'. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the 'rightness' of theatre spaces and the role of directors and actors to convert their apparent problems into opportunities. He explores the transformation of the Globe since 2006, using interviews given by Dromgoole and the directors working with the Globe's research team to critique the theory underpinning the 'permanently temporary' alterations to the theatre, and takes the evidence of performances to examine their use of the space in practice. Cornford offers a selection of staging solutions to the apparent 'problems' identified by Dromgoole and his team, and proposes an alternative model of reconstruction: not the rebuilding of the theatre, but the constant reviewing of theatre practice, including training. Tom Cornford is a freelance director and teacher of acting for the Guthrie Theater/University of Minnesota BFA Program, the Actors' Centre in London, and Globe Education at Shakespeare's Globe. He was, until recently, Artist in Residence at the CAPITAL Centre in the University of Warwick, where he is undertaking PhD research
Inverting resolution: accounting for the planetary cost of earth observation
No full textThis article uses the resolutional relationship between digital image and planetary surface in satellite remote sensing as a lens through which to view the reliance of visual culture on mineral resources. While most studies of resolution in satellite imaging have focused on visibility and invisibility, the author argues that the equivalence between pictorial and geographic space in its cm/pixel specification offers an opportunity to consider the physical relationship between the two. The proposed inversion enables the satellite and its transmitted images to be understood as contingent upon an unsustainably extractive industrial model. The article then traces the material trajectory in geophysical prospecting applications of remote sensing, identifying a recursive loop in which images are used to produce minerals that are used to produce images. The potential geopolitical impact of this circularity is then assessed with regard to an example of future remote sensing emissions governance.In this, and many other climate-critical applications, remote sensing potentially plays a vital role, yet its instrumental gaze tends to shape the earth as an informational resource whose mineral reserves should be capitalized upon. Ultimately, the author’s aim is not to denounce earth observation as ecologically untenable, but to propose that we find a measure with which to assess the planetary impact of the various aspects of industrialized visual culture. Conceiving of resolution not as a measure of pictorial space but of the terrestrial cost of producing, consuming, distributing and permanently storing digital images might enable a more relational understanding of image and ground, pixels and planet. Accounting for the inverse resolution of an image could bring the deep temporal costs of digital visual culture into focus
Michael Chekhov Technique in the Twenty-First Century: New Pathways
No full textThe culmination of an innovative practice research project, Michael Chekhov in the Twenty-First Century: New Pathways draws on historical writings and archival materials to investigate how Chekhov's technique can be used across the disciplines of contemporary performance and applied practice.
In contrast to the narrow, actor training-only analysis that dominated 20th-century explorations of the technique, authors Cass Fleming and Tom Cornford, along with contributors Caoimhe McAvinchey, Roanna Mitchell, Daron Oram and Sinéad Rushe, focus on devising, directing and collective creation, dramaturgy and collaborative playwriting, scenography, voice, movement and dance, as well as socially-engaged and therapeutic practices, all of which are at the forefront of international theatre-making.
The book collectively offers a thorough and fascinating investigation into new uses of Michael Chekhov's technique, providing practical strategies and principles alongside theoretical discussion
Lightness (moving image commission for the exhibition, Everything Flows: The Art of Getting in the Zone)
No full textLightness is a new moving image work commissioned by Film and Video Umbrella, and funded by the Wellcome Trust. It is one of four projects that have developed out of collaborative dialogues between artists and scientists, around the subject of sporting excellence, in this case with Professor Nicola Clayton (University of Cambridge) and Dr Tali Sharot (UCL). Alongside work by the artists Cornford and Cross, Dryden Goodwin, and Roderick Buchanan, Lightness was presented as part of the exhibition, Everything Flows: The Art of Getting in the Zone. An accompanying programme of talks and events featured Stephen Mumford (Dean of the Faculty of Arts at the University of Nottingham and Professor of Metaphysics in the Department of Philosophy), Heather Corcoran (Executive Director of Rhizome, New York), Gareth Evans (Adjunct Film Curator, Whitechapel Gallery), Quentin Cooper (BBC Radio 4, Material World presenter), and Catherine Wood (Curator of Performance, Tate Modern).
Lightness borrows its title from one of Italo Calvino’s Six Memos for the Next Millenium (1988) – on lightness of thought, of language, of science; on ‘the sudden agile leap’, ‘weightless gravity’, and flight. The central subject of the work is the pole vault event – its mechanics and poetics, from training and repetition, to competition. The vault serves as a symbolic gesture of the human capacity and tendency towards aspirations for the future, intermixed with memories of the past, and the role of optimism in evaluating past and future. The goal of achieving literally ever-greater heights, repeatedly defying of gravity, is epitomised in the moment between flying and falling, a fleeting encapsulation of suspension, ‘in the zone’.
Following athletes ranging from beginners to current and future Olympic contenders – the Enfield and Haringey Pole Vault Club at Lee Valley, and Kate Dennison (until recently the British record holder) at Loughborough – the two-screen installation aims to explore the repetition, circularity, and complexity of the pole vault event; the different cognitive processes entailed at various stages both of the vault, and of individual sporting careers; and the insistence of optimism as both rhetoric and technique for both coach and athlete
Theatre Studios: A Political History of Ensemble Theatre-Making
No full textTheatre Studios explores the history of the studio model of theatre-making in England, first established by Konstantin Stanislavsky, Jacques Copeau and others in the early twentieth century, and later developed in the UK primarily by Michel Saint-Denis, George Devine, Michael Chekhov and Joan Littlewood, whose studios are the focus of this study.
Cornford offers in-depth accounts of the radical, collective work of these leading experimental theatre companies of the mid-twentieth century, considering the approaches to ensemble theatre-making that they developed and their remnants in the newly publicly-funded UK theatre establishment of the 1960s. In the process, this book develops an approach to understanding the politics of artistic practices rooted in the work of John Dewey, Antonio Gramsci and the standpoint feminists. It concludes by considering the legacy of the studio movement for twenty-first century theatre, partly by tracking its echoes in the work of Secret Theatre at the Lyric, Hammersmith (2013-2015).
Students and makers of theatre alike will find in this book a provocative and illuminating analysis of the politics of performance-making and a history of the theatre as a site for developing counterhegemonic, radically democratic, anti-individualist forms of cultural production
REVISING BASEL 2: THE IMPACT OF THE FINANCIAL CRISIS AND IMPLICATIONS FOR DEVELOPING COUNTRIES
Get PDFThis paper is concerned with the following aspects of Basel 2, the new internationally agreed framework for assessing the capital adequacy of banks: (1) its rationale and origins; (2) the process leading to the agreement, including the way in which problems and criticisms which emerged during drafting were handled; (3) data on the introduction of Basel 2 in different countries; (4) the quantitative exercises designed to estimate Basel 2’s effects; (5) the global pattern of introduction in relation to Basel 2’s objectives; (6) the way in which Basel 2 addresses the control of banking risks; and (7) outstanding issues requiring regulatory reform which have been highlighted by the financial crisis and which are either covered by or closely related to the rules of Basel 2. The paper devotes much attention to the challenges to regulation and banks’ role in economic development which are posed by its widespread introduction in emerging-market and other developing countries.
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