29,633 research outputs found
Paul Neagu: hyphen as consequence and catalyst
No full textThe Hyphen at its most basic is a three legged, impractical table, with an isosceles triangle formed by its three legs. It occupies an integral position within Paul Neagu’s practice. His drawings, paintings and sculptures all explore forms, materials and, crucially, concepts which are linked (or ‘hyphenated’) to his oeuvre in its entirety. The Hyphen is the critical fulcrum. Within this practice there is a logical progression of concepts and creations, although key concerns also move back and forth in prominence, eventuating into a philosophically and historically dense practice and narrative — one deliberately interwoven. This dissertation seeks to explain the Hyphen and its context as far as possible, specifically its role as a crucial pivot within a practice overall more concerned with circularity than stand-alone sculpture.
The Hyphen was formally a result of both Neagu’s Romanian heritage and his strong sense of the semiotic capabilities inherent in simple shapes (the triangle, the rectangle, the circle). Conceptually the Hyphen is clearly linked with his Generative Art Code, this being a philosophical approach to life which merits careful explanation in order to clarify this relationship. The Generative Art Code was for Neagu as important a textual guidebook by which to grasp the world as the Hyphen was a visual tool. Also integral to the development of the Hyphen are the works which came before – primarily the anthropocosmic work, his palpable art and the invention of the Generative Art Group. The Hyphen melds form and concept in a highly eccentric, highly intellectual sculpture, derived from philosophical and visual influences and eccentric and intellectual sources.
The dissertation is split into three sections, outlining in turn Neagu’s practice pre-Hyphen, the context in which the Hyphen emerged and the new sculptural oeuvre which emerged from its invention
‘An ark to save learning from deluge’? Reconceptualising legal deposit after the digital turn
No full textNo abstract available
Valid recovery of nucleic acid sequence information from high contamination risk samples – Ancient DNA and environmental DNA
No full textGeorge A. Kowalchuk, Jeremy J. Austin, Paul S. Gooding and John R. Stephenhttp://www.elsevier.com/wps/find/bookdescription.cws_home/710463/description#descriptio
Conversations with Paul Auster
No full textInterviews with the author of The New York Trilogy, In the Country of Last Things, and The Brooklyn Follies.Cover -- Contents -- Introduction -- Chronology -- Translation -- Interview with Paul Auster -- An Interview with Paul Auster -- Memory's Escape-Inventing the Music of Chance: A Conversation with Paul Auster -- The Making of Smoke -- The Manuscript in the Book: A Conversation -- An Interview with Paul Auster -- The Futurist Radio Hour: An Interview with Paul Auster -- Paul Auster: Writer and Director -- Off the Page: Paul Auster -- Paul Auster: The Art of Fiction -- Jonathan Lethem Talks with Paul Auster -- A Conversation with Paul Auster -- The Making of The Inner Life of Martin Frost -- Interview: Paul Auster -- A Connoisseur of Clouds, a Meteorologist of Whims: The Rumpus Interview with Paul Auster -- Interview: Paul Auster on His New Novel, Invisible -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- ZInterviews with the author of The New York Trilogy, In the Country of Last Things, and The Brooklyn Follies.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Portrait of Paul Ham at the National Library of Australia, 15 November 2011 /
No full textTitle from nformation supplied by photographer.; Part of the collection: Podcast photograph of author Paul Ham at the National Library of Australia, 15 November 2011.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Towards User-Centric Evaluation of UK Non-Print Legal Deposit: a Digital Library Futures White Paper
No full textThe Digital Library Futures project was funded by the Arts and Humanities Research Council (2017-2019) to investigate the impact of Non-Print Legal Deposit (NPLD) upon UK academic deposit libraries and their users. The project was led by Dr. Paul Gooding (University of Glasgow) as Principal Investigator, with the Co-Investigator, Professor Melissa Terras (University of Edinburgh) and Senior Research Associate, Linda Berube (University of East Anglia). This white paper provides the first research into this topic, and represents a benchmark study which holds relevance for other nations dealing with the implementation of e-legal deposit
Author, Dr. Paul Wehr. c. 1980
No full textDr. Paul Wehr, as he appeared c. 1980. Dr. Wehr was a professor of history at UCF and the author of Like a Mustard Seed: the Slavia Settlement (1982 - Mickler Publishing House), a history of the early years of Slavia and St. Luke\u27s history.https://stars.library.ucf.edu/cfm-images/1413/thumbnail.jp
Michael Rodriguez interviews author Paul Clemens
No full textAuthor Paul Clemens talks about his book "Made in Detroit," the genre of memoir, and writing about race. Clemens is interviewed by Michigan State University Librarian Michael Rodriguez for the MSU Libraries' Michigan Writers Series. Held in the MSU Main Library
Towards User-Centric Evaluation of UK Non-Print Legal Deposit:A Digital Library Futures White Paper
No full textThe Digital Library Futures project was funded by the Arts and Humanities Research Council (2017-2019) to investigate the impact of Non-Print Legal Deposit (NPLD) upon UK academic deposit libraries and their users. The project was led by Dr. Paul Gooding (University of Glasgow) as Principal Investigator, with the Co-Investigator, Professor Melissa Terras (University of Edinburgh) and Senior Research Associate, Linda Berube (University of East Anglia). This white paper provides the first research into this topic, and represents a benchmark study which holds relevance for other nations dealing with the implementation of e-legal deposit
The British ‘Bluesman’ Paul Oliver and the Nature of Transatlantic Blues Scholarship
No full textRecent revisionist studies have argued that much of what is known about music known as the blues’ has been 'invented' by the writing of enthusiasts far removed from the African American culture that created the music. Elijah Wald and Marybeth Hamilton in particular have attempted to sift through the clouds of romanticism, and tried to unveil more empirical histories that were previously obscured by the fallacious genre distinctions conjured up during the 1960s blues revival. While this revisionist scholarship has shed light on some previously ignored historical facts, writers have tended to concentrate on the romanticism of blues writing strictly from an American perspective, failing to acknowledge the genesis and influence of transatlantic scholarship, and therefore ignoring the work of the most prolific and influential blues scholar of the twentieth century, British writer Paul Oliver. By examining the core of Oliver’s research and writing during the 1950s and 1960s, this study aims to place Oliver in his rightful place at the centre of blues historiography. His scholarship allows a more detailed appreciation of the manner in which the blues was studied, through lyrics, recordings, oral histories, photography and African American literature. These historical sources were interpreted in accordance with the author’s attitudes to the commercial popular music, which allowed the ‘reconstruction’ of an African American ‘folk’ culture in which the blues became the antithesis of pop. Importantly, this study seeks to transcend dominant discourses of national cultural ownership or ethnocentrism, and demonstrate that representations of African American music and culture were constructed within a transatlantic context. The blues is music with roots in the African American experience within the United States; however, as Paul Oliver’s writing shows, its reception and representation were not limited by the same national, cultural or racial boundaries
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