1,720,972 research outputs found
"It is difficult to change the DNA of a museum" - Atreyee Gupta in conversation with Ming Tiampo
No full textWhich kind of concepts do we have to speak about modernism for the Non-West? Why is it essential to look at the so called "peripheries" when we think about multiple modernisms? Can we observe a "Cultural Mercantilism" in the arts? The art historian Ming Tiampo (Carleton University in Ottawa, Canada) in conversation with Atreyee Gupta (Art Histories and Aesthetic Practices / Forum Transregionale Studien Berlin) discusses these questions and presents her new research project "Paris from the Out..
Paris from the Outside:In Representation Under Siege
No full textThe Lettrist poems you are about to hear signify nothing and have no meaning. We composed them solely for the beauty of pure noise, for the harmony of the scream. Isidore Isou The end of the Second World War marked the start of new struggles in many parts of the world: partitions, wars of independence, revolutions, and dictatorships. Tiampo traces how artists from the decolonizing world living in Paris developed a vocabulary of form that encoded materials and their destruction with phenomenological and political significance. Scratching, breaking, gouging, concealing, stretching and otherwise rendering illegible, these artists silently denounced the political realities from which they chose exile. Their politically charged engagements with the limits of language and representation underscored the ethical significance of Poststructuralism’s propositions, which also emerged out of the decolonizing struggles of the former French Empire (Lionnet and Shih, 2011). This talk is part of a larger project that demonstrates how Paris functioned as a crucible of global encounter and ‘transmodernity’ (Dussel, 2002) that enabled cross-fertilization among the many artists who founded modernist movements in their countries of origin. Ultimately, the project seeks to decolonize current narratives of Paris as modernism’s point of origin, and re-theorize how we think and write about artistic centres. Ming Tiampo is Associate Professor of Art History at Carleton University in Ottawa, Canada. She is a scholar of transnational vanguardism with a focus on Japan after 1945. Tiampo’s book Gutai: Decentering Modernism (University of Chicago Press, 2011) received an honorable mention for the Robert Motherwell Book award. In 2013, she was co-curator of the AICA award-winning Gutai: Splendid Playground at the Solomon R. Guggenheim Museum in New York. In addition to her work on Gutai, Tiampo has published on Japanese modernism, war art in Japan, globalization and art, multiculturalism in Canada, and the connections between Inuit and Japanese prints. In 2013, she co-edited Art and War in Japan and its Empire: 1931-1960 (Brill Academic Press). Tiampo is a founding member of the Center for Transnational Cultural Analysis at Carleton University
Thinking Collectives / Collective Thinking
No full textThinking Collectives/Collective Thinking delves into the dynamics of collective artistic practices, and looks in particular at histories, personal experiences, and theories in the context of global Asias. Featuring contributions from artists, curators, and activists, it focuses on the diverse contexts that shape both making and researching art. This ‘Companion’ book aims to bridge historical and theoretical knowledge with first-hand experiences and serves as a resource for a ‘worlded’ art history and contemporary practice.Thinking Collectives/Collective Thinking: Introduction | EVA BENTCHEVA, ANNIE JAEL KWAN, AND MING TIAMPO | 1-12Questionnaire on Collective Practices: December 2022–March 2023 | GUDSKUL: COLLECTIVE STUDY AND CONTEMPORARY ART ECOSYSTEM, MAI LING, NHÀ SÀN COLLECTIVE, PROJEK RABAK, REPUBLIC OF THE OTHER, AND TOMORROW GIRLS TROOP | 13-30what kind of we can we be? collective futures | VARIOUS CONTRIBUTORS | 31-33what kind of we could we be? the poetics of we | VARIOUS CONTRIBUTORS | 35-57Thinking Operationally: Collectivism in Modern Japan and Its Contemporary Evolution | REIKO TOMII | 59-76Artist-Curator Collectives in Southeast Asia | EVA BENTCHEVA | 77-88‘The Only Art Form that Works’: Reflections on Collectivity from South Korea [2023] | SOYOON RYU | 89-95what kind of we could we be? collective thinking by collectives | VARIOUS CONTRIBUTORS | 97-111ReferencesNotes on the Contributor
Co-constituting the Global:Ethical Challenges and Implications
No full textThe afternoon session at the ICI Berlin addresses the lived entanglements of the global that are not adequately theorized by notions of the global and the local, which bifurcate experiences that are necessarily co-constituting. It will take up the question of how artworks, artists, cultural producers, art historians, historians, and theorists who simultaneously exist on multiple and intertwining scales, co-constitute the global in relation with one another through meaning making/world-making processes of (critical) interconnecting, social networks, transnational/transcultural historiography, the circulation of objects, and imagined communities. We aim to address methodological challenges in the study of art history that reimagines its possible narratives by simultaneously holding account of art’s global resonances and its local, national, and regional frameworks. The papers on this panel are situated at the intersection between diaspora, postcolonial, and global (art history) studies. They seek to decolonize and deimperialize new top-down narratives of so called ‘global art’, that often identify global capitalism as the universal condition and will instead shed light on the multiperspectival polyphony that co-constitutes the global.Programme 15:30-17:30 Panel Birgit Hopfener, Carleton University Devika Singh, Cambridge University Francesca Tarocco, NYU Shanghai/Cà Foscari University, Venice David Teh, National University of Singapore Ming Tiampo, Carleton University 17:30-18:00 Discussion/Q&A moderated by John Tain 18:00-18:15 Coffee Break 18:15-18:45 Book Launch for Sarah Dornhof, Nanne Buurman, Birgit Hopfener, Barbara Lutz (eds.) Situating Global Art: Topologies, Temporalities, Trajectories (Bielefeld 2018). 18:45-19:00 Break 19:00 Keynote Lydia H. Liu (Columbia University
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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
Full text linkWe 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
Full text linkWe 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
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