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The archived lace body: contemporary artist designer responses
No full textGoode, A E, VX44549
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/388080Surname: GOODE. Given Name(s) or Initials: A E. Military Service Number or Last Known Location: VX44549. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 41715.210850
Item: [2016.0049.20373] "Goode, A E, VX44549
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Introduction: Crafting anatomies
Full text linkCrafting Anatomies places the human body at the center of a transdisciplinary exploration, revealing how it acts as a catalyst for craft-based collaborative research, using archives, creative dialogues, and technologically advanced fabrications. As the book demonstrates, nothing happens without collaboration in fashion and textiles, which involves intense, creative dialogues at all stages of the process (Anderson 2017). Increasingly, this applies to all contemporary artistic design practice—where the tradition of the “isolated auteur” and mastery of a specific discipline is challenged by the provocative and disruptive nature of information and technology (Mower 2017). This collection of illustrated narratives seeks to highlight how critical making and conversation around the contemporary body is manifest through a range of material and immaterial responses. The contributors, drawn from a network of creative thinkers and practitioners based in Europe, North America, and Oceania, exploit methodologies that resonate with wider transnational philosophies, “[paying] no attention to the boundaries between fine and applied art, high and low culture, gendered and racial identity, let alone, fashion, textiles and craft”1 (Hemmings 2015: 157). So, through the shared lens of crafting anatomies, researcher/practitioners in materials (textiles) and product (fashion) design are united with artists, writers, scientists, and curators to demonstrate how their/our response to the corporeal is constantly flexing and changing
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
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