1,720,968 research outputs found
Film Screening, Q & A and Book Launch: ICA, London (26 March); Hyde Park Picture House, Leeds (11 April) and Hauser & Wirth, 18th Street, New York (28 April 2024)
No full textBillingham's feature film 'Ray & Liz' was screened at the ICA, London to a sold-out audience. After the screening there was an audience Q & A. The interlocutor was art critic, writer and presenter Sacha Craddock. Following this was a book launch and public signing of Ray's a Laugh (expanded edition) published by MACK Books, 2024. This was followed by a second screening, Q & A and book signing at Hyde Park Picture House, Leeds (11 April). The interlocutor was curator Roz Doherty.
A third screening was held at Hauser & Wirth, 18th Street, New York (28 April 2024) as part of the programme ‘Encounters’ organised by Hauser & Wirth Publishers, MACK, and SPBH Editions.
Encounters was a series of performances and artist films. The performances followed a variety of formats from soundscapes to performance, correlating with each artist's respective practice. Following each was an onsite book signing.
The film screenings took place in the gallery’s auditorium. Besides Billingham’s feature ‘Ray & Liz’ the other screenings were by Alessandra Sanguinetti, Donald Judd and Joseph Desler Costa. Sam Ashby, founder of cult queer film zine Little Joe showcased a selection of rare short films from the publication's archive. Little Joe Presents (30 minutes).
The Performance programme took place in the gallery. Stephen Shore presented ‘Station to Station’, a photographic performance of unedited works he created over the course of one day in Winslow, Arizona, for Doug Aitken’s 'Station to Station'.
Jason Fulford presented ‘Did you know???’ Teju Cole presented ‘Capacitor,’ an original video work (6 min) followed by a conversation with the audience. Keisha Scarville presented ‘Meditations From the Threshold’, a slideshow and spoken piece that explored the aesthetics of latency and the ecosystems within which Scarville’s latest book was imagined. Catherine Taylor & Nicholas Muellner presented ‘We Feel For You’. Here, the authors recombined their existing texts and images into a new dialogue where crosstalk made a monologue exploring the place, and voice, of feeling. Vince Aletti presented ‘The Drawer Remix’. RaMell Ross presented ‘The Black Dictionary’, a sonic journey from Rhode Island to Alabama, inspired by Henry Box Brown. Justine Kurland presented ‘Other Mother’. This paid homage to artists who have collectively expanded our notion of what motherhood looks like. Carmen Winant presented ‘Care Visuality’, an experimental lecture that prompted: what is the visuality of abortion care? And how might its representation be used as a tool in the struggle? Charlie Engman presented ‘Hello Chaos!’ a performance that engaged audience participation to navigate the chaotic pursuit of visibility and connection in the digital age. The ‘Encounters’ programme activated the gallery, auditorium, and bookshop of Hauser & Wirth’s 18th Street
Ray's a Laugh: A Reader
No full textIn 1996, a book of photographs by an unknown young British photographer was launched on to the London contemporary art market to immediate popular and critical success. The pictures were taken within the claustrophobic, chaotic interior of a Birmingham council flat where the photographer’s father, Ray, an alcoholic, lived with Liz, his sedentary and occasionally violent mother, and his younger brother Jason.
For the public, including cultured, art-loving viewers, the pictures were a shock: more intimate, more personal, more oppressive than the well-meaning photojournalistic study of working-class poverty to which they were accustomed. Some saw them as a betrayal – exposing unsuspecting family members to potential humiliation – but from Richard Billingham’s point of view they made moral judgements and had no social or political purpose. He had taken them as reference images for his painting, and their lives as artworks were as much a result of the interventions of other editors and gallerists as of Billingham’s own intentions.
This reader traces the history of a body of work which remains as vital and provocative as on its first release, and whose story tells us much about the workings of art, publishing, and the politics of dissemination. Editor Liz Jobey charts the history in a new essay drawing on interviews with Billingham and all the primary protagonists of the work’s emergence, including Michael Collins, Julian Germain, and Paul Graham. This is followed by an extensive selection of conversations and essays from 1996 to the present day, by writers including Charlotte Cotton, Gordon Burn, Lynn Barber, and Jim Lewis. This book coincides with the release of a new edition of Ray’s a Laugh restoring Billingham’s original vision for the book
Ray's a laugh: a reader
No full text'Ray’s a Laugh: A Reader' by Liz Jobey, pub MACK Books (160pgs) by traced the history of Billingham’s photo series ‘Ray’s a Laugh’ which still remains as vital and provocative as on its first release. Editor Liz Jobey charted the history in a new commissioned essay that drew on interviews with Billingham and all the primary protagonists of the work’s emergence. This was followed by an extensive selection of conversations and essays from 1996 to the present, by writers including Charlotte Cotton, Gordon Burn, Lynn Barber, and Jim Lewis.
The book coincided with the release of a new edition of Ray’s a Laugh that restored Billingham’s original vision for the book.
'Ray’s a Laugh: A Reader is part of DISCOURSE, a series of books published by MACK Books in which a theorist, artist, or writer engages in a dialogue with a theme, an artwork, an idea, or another individual across an extended text
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
- …
