18,631 research outputs found
ADAM SMITH'S OPTIMISTIC TELEOLOGICAL VIEW OF HISTORY
Full text linkAdam Smith's four-stage theory provides the framework for his writings on history. The fourth stage is the commercial epoch; the culmination of history in this stage is a key component in the conventional interpretation of Adam Smith as a prophet of commercialism. In two historical case studies Smith shows the capacity of commercial society to regenerate itself. This potent capacity suggests that commercial society is inevitable. At a certain point in time it also overcomes the major obstacles to its permanence. Smith's philosophy of history anticipates the end of history views of Kant and Hegel.Political Economy,
No Quise Angustiarte
No full textDirector/Editor of Music Promo Video for Spare Snare’s No Quise Angustiarte Video Directed by Adam LockhartRecorded on location at the Stud Farm'No Quise Angustiarte' written by Diego Ignacio Billordo (Copyright Control) Played by Jan Burnett, Alan Cormack, Barry Gibson, Adam Lockhart and Graeme Ogston. Recorded and mixed by Adam, vocals by Jan, Dundee and Westerton, 2015. <br/
How Might Adam Smith Pay Professors Today?
Full text linkAdam Smith’s proposal for paying professors was intended to induce increased faculty knowledge. If students have imperfect information about what they learn, and universities can only imperfectly measure the input of faculty time in student learning, publications may be used to measure faculty knowledge. If professors’ ability to publish is positively related to their ability to produce student learning, which universities can imperfectly measure, publications may be necessary to attract more able professors. Since research signals faculty knowledge, schools that do not value publications per se could require higher publication standards and pay higher wages than schools that value only publications.
VR - the experimental recreation of David Hall’s video installation
No full textLecture/demonstration of the re-creation of David Hall’s artwork in VR. This is the third pilot project by Adam Lockhart for the forthcoming AHRC application to investigate the archiving/illustration of vintage media arts in VR. This piece was made with Sang-Hun Yu.Paper presented at peer-reviewed international conference, with aspects of the experimental VR installation presented as a hands-on demonstration
Digitisation and Restoration of Witch’s Blood video from 1987
No full textWitch’s Blood was a multi-site theatre performance based on William Blaine’s book of the same title held in Dundee in 1987. This documentary was made at DJCAD in 1988, produced by Susy Dale and directed by Chris Rowland. It was digitised and restored by Adam Lockhart in 2016
ADAM SMITH'S VIEW OF HISTORY: CONSISTENT OR PARADOXICAL?
Full text linkThe conventional interpretation of Adam Smith is that he is a prophet of commercialism. The liberal capitalist reading of Smith is consistent with the view that history culminates in commercial society. The first part of the article develops this optimistic interpretation of Smith's view of history. Smith implies that commercial society is the end of history because 1) it supplies the ends of nature that he identifies; 2) it is inevitable; and 3) it is permanent. The second part of the article shows that Smith has some dark moments in his writings where he seems to reject completely such teleological notions. In this more civic humanist mood he confesses that commercial society does not supply the ends of nature, nor is it inevitable, nor is it permanent. Both views exist in Smith and the commentator is forced to choose between passages in Smith's work in order to support a particular interpretation of the former's view of history.Political Economy,
Approaches, Strategies and Theoretical and Practice-Based Research Methods to investigate and archive video art:Some reflections from the REWIND projects
Full text linkThis paper will discuss methodologies, approaches and issues, emerging out of three major research projects that have investigated early histories of video art in Europe: REWIND (2004 ongoing), REWINDItalia (2011-2014) and EWVA (2015-2018). The paper will discuss how the projects have engaged with the history of the apparatus, the identity and status of the artworks, preservation methods, and the legacy of these video artworks today. A particular focus will be on semi-structured questionnaires for interviews structured to capture oral histories, memories and recollections, that in some cases would have been otherwise lost to future knowledge and the uncovering of lost artworks and their available documentation. The speakers directly involved in the projects - will discuss solutions, risks and experiences encountered in the projects and future research perspectives for re-covering, collecting, archiving and narrating the histories of early video art in Europe. The paper will discuss also different practice-based research methods, platforms and engagement strategies, including re-installation and re-enactment
The time is right for ... [Film screening]
Full text linkThis film screening, curated by Laura Leuzzi and Adam Lockhart, was performed as part of the exhibition of the same name, which was held in August and September 2017 at Summerhall, Edinburgh. The exhibition aimed to highlight a selection of early women's video art that had been investigated as part of the European Women's Video Art in the 1970s and 1980s (EWVA) project, funded by the Arts and Humanities Research Council (AHRC). This screening presented several specific works and was accompanied by a panel discussion with Federica Marangoni (artist), Elaine Shemilt (artist and EWVA principal investigator) and Laura Leuzzi (EWVA research fellow)
Doppelgänger redux. [Video performance]
No full textThis was a re-enactment of the emblematic video work "Doppelgänger" from Professor Elaine Shemilt, part of a series started in 1974 that was originally shown as part of the "Video Show", at the Serpentine Gallery in May 1975. In "Doppelgänger", Shemilt created a phantasmal double of herself exploring key feminist themes such as identity, sexuality, duality, women's role in society and the status of professional women artists. After three decades, Shemilt will re-enact, reactivate and react to the piece, sourcing from research materials from her own archive, exploring a new performative version that addresses these still key feminist issues. This performance was curated by Laura Leuzzi and produced by Adam Lockhart. It is a result of the EWVA European Women's Video Art project, which was funded by the Arts and Humanities Research Council
Video Garden
No full textIn a nod to the work of the father of media art, Korean-American artist Nam June Paik, NEoN playfully adapts the idea of Paik’s famous ‘TV Garden’ into NEoN’s own video garden showcasing work from the Rewind Artists Film and Video project selected by DJCAD Media Archivist Adam Lockhart. Short form electronic art works – abstract, innovative, rich in pattern and sound, some of which were commissioned for broadcast on television as early music videos – by Japanese artists Mineo Aayamaguchi (Beyond Colour, 1986 & Primary Contrasting Elements, 1993) and Akiko Hada (Ohi Ho Bang Bang: The Two, 1988 & James Bonk In Matt Blackfinger, 1988) are included
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