364 research outputs found
Art Since 1945:Word and Image, Brian, Patrick, and Art Writing
No full textBrian O'Doherty / Patrick Ireland's book sculpture "Art After 1945" was submitted to Praeger publishers instead of a manuscript of the same title. It is here understood as an appropriately eloquent, though mute, art history despite it all. The work is placed in the context of art writing, artistic research and O'Doherty's (other) writings
Introduction, or the Crossdresser’s Secret
No full textBrian O'Doherty / Patrick Ireland is introduced (first through an overview of issues addressed in the current volume) as a versatile and boundary-crossing artist / writer / funder / institutional critic etc. His methodological diversity is subsequently traced (through two works in Ireland and his latest novel) as systemic work, a targeted social construction, in order to establish and promote the importance of art for human beings and their societies. This is seen as a current and important practice
Introduction, or the Crossdresser’s Secret
No full textBrian O'Doherty / Patrick Ireland is introduced (first through an overview of issues addressed in the current volume) as a versatile and boundary-crossing artist / writer / funder / institutional critic etc. His methodological diversity is subsequently traced (through two works in Ireland and his latest novel) as systemic work, a targeted social construction, in order to establish and promote the importance of art for human beings and their societies. This is seen as a current and important practice
Art Since 1945:Word and Image, Brian, Patrick, and Art Writing
No full textBrian O'Doherty / Patrick Ireland's book sculpture "Art After 1945" was submitted to Praeger publishers instead of a manuscript of the same title. It is here understood as an appropriately eloquent, though mute, art history despite it all. The work is placed in the context of art writing, artistic research and O'Doherty's (other) writings
Memory, Word and Image in Sebald and Joyce: Towards a Transhistorical Ethics Communicated Through Minor Interventions in the Form of the Printed Book
No full textThe writers James Joyce and W.G. Sebald adhered to, but also manipulated in similar and often hardly perceptible ways, the typographical conventions within the institution of literature. Writing on either side of the Second World War, they sought to sensitize readers to both the connectedness and the fragility of human lives. Both authors, by humbly placing their characters’ lives (micro-histories) at the outer edges of the maelstrom of catastrophic failures of regimes, ultimately make their readers hope against hope that remembering, connecting, and conceptualizing history through their word and image strategies can somehow modify the otherwise inevitable repetitions in and of history
Concerning the Work of Royden Rabinowitch: Our Disenchanted Ontology or Paradoxical Hope
No full textWriting Art and Creating Back: What Can We Do With Art (History)?
No full textThe roles and borders of art and Art History are not stable. Christa-Maria Lerm Hayes argues that this has been the case since the beginnings of our modern understanding of art, and from the beginnings of the academic discipline of Modern and Contemporary Art History - inaugurated by a curator at the University of Amsterdam in 1963. From this basis, she investigates the boundaries between art and art-historical practices from two sides: artists who engage with (literary) writing, and art historians who do the same - in a creative, "artistic" way. Using insights from previous studies on James Joyce and Joseph Beuys, as well as Radical History, she concludes that there are good reasons for artists and art historians to work in several registers, to employ indirect and direct notions of social and political efficacy. They thus show that art (history) is part of the world: it contributes modes of meaning-making and world-making
Reading Time and Infrastructural Critique:Christa-Maria Lerm Hayes reflects on Brian O’Doherty’s Social Practice Legacy
No full textReading Time and Infrastructural Critique:Christa-Maria Lerm Hayes reflects on Brian O’Doherty’s Social Practice Legacy
No full textSelection and characterisation of Oenococcus oeni and Lactobacillus plantarum South African wine isolates for use as malolactic fermentation starter cultures
No full textCITATION: Lerm, E., Engelbrecht, L. & Du Toit, M. 2011. Selection and characterisation of Oenococcus oeni and Lactobacillus plantarum South African wine isolates for use as malolactic fermentation starter cultures. South African Journal of Enology and Viticulture, 32(2):280-295, doi:10.21548/32-2-1388.The original publication is available at http://www.journals.ac.za/index.php/sajevThis study focused on characterising 23 Oenococcus oeni and 19 Lactobacillus plantarum strains isolated from the South African wine environment for the development of potential commercial malolactic fermentation (MLF) starter cultures. These strains were characterised with regards to oenological important characteristics, including the genetic screening for enzyme-encoding genes (enzymes that are involved/implicated in wine aroma modification, as well as enzymes pertaining to the wholesomeness of the final wine product), their fermentation capabilities, the ability to maintain viability during MLF, as well as the volatile acidity production. A total of three O. oeni and three L. plantarum strains were selected at the completion of this study. These six strains showed the most potential during the characterisation stages of the study and were able to successfully complete MLF in Pinotage wine. It was also found that L. plantarum strains displayed a more diverse enzyme profile than O. oeni strains, particularly with regards to the presence of the aroma-modifying enzymes β-glucosidase and phenolic acid decarboxylase (PAD), which implies the future use of this species in the modification of the wine aroma profile and use as commercial starter culture.http://www.journals.ac.za/index.php/sajev/article/view/1388Publisher's versio
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