3,254 research outputs found
Sites of action. An investigation of performance painting and spectatorship
No full textThis practice-based research sets out to explore modes of address and spectatorship in relation to contemporary painting. Taking as its point of departure Michael Fried’s Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980), I question whether painting can be performative without becoming theatrical and what this means for spectatorship specifically.Throughout, I aim to establish the contemporary conditions required for painting to firstly be sincere (non-theatrical) and secondly to ‘activate’ the spectator (as well as itself) and thus become ‘performative’. In this way something gets done (J.L.Austin) as opposed to just being described and a reality is changed. I have undertaken detailed research into ‘theatricality’ and ‘performativity’ as concepts, the latter possessing the potential to give power to the artwork and viewer simultaneously, thus enabling both the artwork and spectator to be at once ‘activated’. This sits in opposition to traditionally passive object/subject models of spectatorship. I utilise ideas of ‘action’ throughout the process of my research. The action-reflection spiral constitutes a large part of my method and I also intend for it to be transparent in the outcome of the research i.e the artworks and their consequent agency.Chapter one focuses on theatricality with particular emphasis on Michael Fried’s book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980), which is used to scaffold the structure of my argument. I break down his argument into three key terms: ‘absorption’, ‘theatricality’ and ‘tableau’ and discuss them in relation to the paintings, collages and assemblages in my 2011 show titled My Brother is a Hairy Man. Chapter Two involves a discussion of my second 2012 exhibition titled, The King of Hearts Has No Moustache, in relation to performativity (Dorothea von Hantlemann) and networks (David Joselit) within gallery contexts. I unpack this discussion of performativity through the individual discussion of the two exhibition spaces (the front room and back room). In Chapter Three I focus predominantly on spectatorship’s potential for performativity with particular focus on Alfred Gell’s anthropological theory of art. I consider this theory of social agency in relation to my 2013 exhibition Escape The Esplanade which addressed the dichotomy between the spectacle and the spectator, reversing the traditional roles in the process.Through a renegotiation and expansion of the term tableau I conclude a framework was put in place from which the spectator could be ‘absorbed’ and activated in larger exhibition environments. In addition, networked displays of painting, engendered collective sociability and many-to-one (as opposed to one-to-one) performatives, as was demonstrated by the installation of the back room of the second exhibition. This more ‘plural’ performativity ultimately resulted in more ‘activated’ spectators. Finally through an inversion of traditional modes of address in Escape the Esplanade the spectator simultaneously became the spectacle and the artworks spectators. In this way painting, and spectatorship became performative whilst evading theatricality
Guidelines for Data Annotation
No full textIncluded here are a coding manual and supplementary examples of gesture forms (in still images and video recordings) that informed the coding of the first author (Kate Mesh) and four project reliability coders
Declining Unionization, Rising Inequality: an Interview with Kate Bronfenbrenner
No full textKate Bronfenbrenner is director of labor education research at the New York State School of Industrial and Labor Relations at Cornell University. She worked for many years as an organizer with the United Woodcutters Association in Mississippi and the Service Employees International Union in Boston. She is the author, co-author and editor of numerous books and articles on union strategies
Kate Richards: madness
No full textKate Richards’ bleakly beautiful, confronting and important book, Madness: A Memoir, describes her 15 years coping with psychosis and depression, and her long, hard-won journey back to sanity, with the help of a wise and compassionate psychologist.
In this video, she speaks with Ranjana Srivastava, an oncologist and fellow author, about her experience – and about being able to write from deep within it, with expertise as both a medical researcher and writer.
 
Book signing by SC author and illustrator Kate Salley Palmer
No full textPhotograph of Book signing by SC author and illustrator Kate Salley Palme
SC author and illustrator Kate Salley Palmer signing book
No full textPhotograph of SC author and illustrator Kate Salley Palmer signing boo
Replication Data for Statistical Analysis
No full textIncluded here is a dataset with gesture form coding from the study author (Kate Mesh). Statistical analysis of the dataset was performed using R version 3.6.1 (R Core Team, 2019), with the package, lmer (Bates, Maechler, Bolcher & Walker, 2015). An R script is attached for the purposes of replication.
R Core Team (2019). R: A language and environment for statistical computing. R Foundation for Statistical Computing, Vienna, Austria. URL https://www.R-project.org/.
Douglas Bates, Martin Maechler, Ben Bolker, Steve Walker (2015). Fitting Linear Mixed-Effects Models Using lme4. Journal of Statistical Software, 67(1), 1-48. doi:10.18637/jss.v067.i01
Oral history interview with Kate Hart
No full textKate Hart, author and artist, talks her youth and how she became interested in writing young adult literature. She discusses her book, After the Fall, explaining the circumstances that led her to write the book. Hart comments on the creativity side as well as her process of writing and briefly talks about some of her other work.The Deep Roots: Oklahoma Authors Collection is a series of interviews with authors who discuss their lives, work, and creative processes
Kate Christensen, 37th Annual ODU Literary Festival
No full textKATE CHRISTENSEN is the author of six novels, including The Epicure\u27s Lament, the PEN/Faulkner award-winning The Great Man, and The Astral. She describes herself as a cook of the improvisational, what\u27s-in-the-cupboard school, which is also, possibly not coincidentally, [her] strategy with writing, and as someone who was raised in Berkeley in the 1960s, long before the Bay Area became the American locavore/foodie mecca. She now lives in Portland, Maine, and the White Mountains of New Hampshire. Her food memoir is Blue Plate Special: An Autobiography of My Appetites (Doubleday, 2013). She is currently collaborating with Barbara Lynch, the Boston chef, on her memoir
Kate Daniels, 12th Annual ODU Literary Festival
No full textKate Daniels, a Norfolk native who now teaches at Louisiana State University, is the author of two volumes of poetry, The White Wave, 1984, and The Niobe Poems, 1988, as well as the forthcoming Muriel Rukeyser: A Life of Poetry. Since 1979 she has co-edited the magazine Poetry East. In addition, she is the co-editor of On Silence: Writings on Robert Bly, 1982, and of the forthcoming The Achievement of Muriel Rukeyser. She is a member of the Board of Directors of the Associated Writing Programs
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