1,720,973 research outputs found
TALKER 10: Barby Asante
Get PDFIssue 10 of TALKER an interview zine about performance art, produced and independently published by artist Giles Bailey.
The conversation in this issue explores Barby Asante's performance works Noise Summit and Declaration of Independence, discussing how she develops works with what she describes as contributor performers and the challenges of presenting performances online during the COVID 19 Pandemic
Nadia Hebson in conversation, Giles Bailey and CIRCA Projects Studio is Sudden
No full textBetween November 2017 and February 2018 Giles Bailey and Circa Projects invited a number of guests who take interesting and unique approaches to working with archival material, rethinking the contemporary by moving away from dominant narratives in history. We will look at and discuss their work alongside recent artworks made by Giles Bailey & CIRCA Projects. For this Studio is Sudden we are delighted to have conversation with Nadia Hebson stemming out of reflections upon her recent practice.“When considering the legacy of American painter Christina Ramberg and her creative female circle I have made paintings in concert with large scale prints, objects and text. When called to I’ve described the work through a narrative of recuperation, a reconsideration of overlooked histories, aware this was a partial truth perhaps more diminishing than expanding.One afternoon in Antwerp the writers Daniela Cascella , Kate Briggs and myself met to discuss Daniela book Singed, Daniela had just read an excerpt that described her coming to Clarice Lispector, a woman writer drawn to a woman writer, but a description of recuperation wasn’t enough to describe this exchange. Daniela, Kate and myself searched for another way to acknowledge this work, our work and the impulses that drive it, criticism seemed like the only option.Italian feminist Carla Lonzi had a theory that in order to break the monologue of patriarchal history women needed to articulate their subjective experience through a collective endeavour, as unexpected subjects they could converse with other women both in and across time. Lonzi named this political act resonance, a means by which to avoid complicity with the patriarchy, a means by which to undo the roles linked to women’s oppression.If the work I make needs to resist categories, how do I talk about it, how do I make it and what is it? Not interested in re-configuring canons but addressing alternative histories through self-reflexive means (maybe?) how do we even start a conversation, please lets start a conversation”
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
Talker
No full textTalker is an ongoing artist’s publication series produced to address the research question: As contemporary working conditions for artists change, how can we learn from interdisciplinary performance practices to develop new critical live work? As a body of work, it is accumulating an unprecedented survey of contemporary performance practice by looking to creative process in the fields of dance, experimental theatre, art writing and curation. It proposes a new context for how this work might be discussed while mapping current communities of practice. Each issue includes a long form interview with a performance-maker discussing the contemporary significance of live practice. The interviews investigate process, formative work and interpretations of live practice/cultures generally. In order to present these discussions in a structurally innovative way reflective of the nimble, performative exchange of verbal discourse, I ensure they keep the fluid movement of conversation once edited. Issue #1 features artist, curator, writer and educator Ian White. Issues #2 to #5 feature Kate Valk of the Wooster Group and playwright Richard Maxwell, artist Sue Tompkins and transcript of an in-conversation event between Spalding Gray and Kathy Acker from 1987. Issue #6 features artist Dora Garcia. For Talker #7 I have interviewed Cardiff-based director, choreographer and performer Jo Fong. Issues of the publication are held in the Tate Archive and it is currently distributed in Germany, France, Spain, Lithuania, the US and in prominent arts venues across the United Kingdom. I have been invited to present the publication at the Showroom Gallery, London in December 2016 and at the Artist Self Publishing fair (ASP) at the ICA in December 2018 and 2019
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
Giles Bailey
No full textA solo exhibition presenting installed iterations of two performance projects:I Bought a Little City and John and Michael (The Chemical History of a Candle)John and Michael (The Chemical History of a Candle) is a performance which was created at Flat Time House. It takes as its starting point a brief moment in a video shot by Laure Prouvost of John Latham giving a tour through his home when he pauses by a bookcase and extracts a few books. Among these is Michael Faraday’s 1861 book of lectures for young people, The Chemical History of a Candle. Responding to Latham’s unorthodox and sculptural treatment of books, the contents page of this series of six lectures on the chemistry and physics of flames given at the Royal Institution serves as a choreographic score. The work was developed from a performance commissioned by Flat Time House and the video was shot there. Flat Time House (210 Bellenden Rd, London SE15 4BW) was the studio and home of John Latham. In 2003 he declared the house a living sculpture. It has been open to the public since 2008 and will close Summer 2016.I Bought a Little City (2012 and ongoing)This project began while I was participating in a residency in Marfa, Texas during the Summer 2012 and has been show in unfolding iterations at OUTPOST in Norwich and Kunst-Werke, Berlin.Marfa is a remote West Texan town to which the sculpture Donald Judd relocated from New York City in 1972. Over the two decades that followed his move the town grew - thanks to his influence, establishment of the Chinati Foundations and purchase of significant amounts of real estate - into a significant cultural presence with many galleries and venues upon which the global art world certainly has its eye. While in Marfa I happened to read the story by American writer Donald Barthelme (himself a Texan who happened to have moved to New York), published in the New Yorker in 1974, from which this performance takes its title. This short work of fiction is a can be seen as a wry, absurdist indictment of proprietorship and urban regeneration that feels strangely resonant in the context of the town.The peculiar, dissonant collision of these two figures became the beginning for a work that (kind of) takes a format of artist’s talk haunted by history’s apparent authority and awkward, unruly legacies. A collage of short, quasi-fictions performed as monologues and collaboratively produced videos propose wayward negotiations of cities and failed attempts at producing artworks therein.I performed the Barthelme Story in Marfa as a kind of town meeting in the cupola of the Presidio County Courthouse and made a pair of videos (one in Marfa, one in Berlin) that deal with the weight of history or canonical figures on urban spaces. The videos that were made to accompany the Marfa and Berlin iterations of the work were made in collaboration with John White and Adela Yawitz respectively
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
Bensham Grey
No full textVideo installation in the exhibition MY PART OF YOUR HOME at the Shipley Gallery. Commissioned by CIRCA Project
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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