1,720,990 research outputs found
Accidental Journey
No full textAccidental Journey is the outcome of an AHRC Fellowship that O’Riley completed in 2008. An artist’s book, it features scientific, literary and artistic ruminations on exploration and stargazing. Using image and text, O’Riley brings together and gives form to multiple sources, narratives and serendipitous encounters. The research develops his chance encounter with a small Irish flag that he came across in the Dunsink Observatory outside Dublin. Documenting O’Riley’s intellectual and creative journey that begins with the discovery of the flag – which ostensibly travelled to the moon and back on board the 1969 Apollo 11 spacecraft – the text culminates with an open-ended resolution from Apollo 11 astronaut Michael Collins in response to O’Riley’s enquiries about the flag’s provenance. Accidental Journey is also featured in O’Riley’s essay, ‘Chance and improbability’, which appeared in the peer-reviewed online journal Flusser Studies, Issue 12 (2011). In addition to reflecting on Accidental Journey and building on the research that led to the book, significantly the article focuses on the role of the improbable or unexpected in art practice, discussing the impact of these concepts in relation to the work of philosopher Vilém Flusser. The book has been accepted into the collections of the Special Collections Library at Tate, Printed Matter (New York), Artwords, Bookartbookshop, Camden Arts Centre, RIBA, Magma, Royal Observatory & National Maritime Museum (London), Irish Museum of Modern Art and the Science Gallery Dublin. Accidental Journey was reviewed by Stephen Bury in Art Monthly No. 348 (2011). O’Riley subsequently gave a paper on the artist’s book at ‘Impact 7’, a conference held at Monash University, Melbourne, Australia, in September 2011. The proceedings of the conference were published in a book entitled, Intersections and Counterpoints: Proceedings of Impact 7, An International Multi-Disciplinary Printmaking Conference (2013)
The Art of Research II, Process, Results and Contribution
No full textThis book was co-edited by Maarit Mäkelä and Tim O'Riley. Its subject is practice-led research and it is based on papers given at the 'Art of Research' conference in 2009. Mäkelä and O'Riley edited the volume, and provided a chapter based on their reflections on research and art.
O’Riley contributed an extended introduction to the anthology, in which he considers the entanglement of reflecting, writing, making and the role of serendipity in the context of practice-led research. By presenting examples of case studies and practical and theoretical reflections, as well as laying out some of the relevant territory, the anthology provides a practical and philosophical contribution to the current debate surrounding practice-led artistic research
A Discrete Continuity: On the Relation Between Research and Art Practice
Full text linkThis short article discusses the nature of research and art practice and makes a case for the necessary intermingling of these activities. It does not attempt to define a space for art to operate as research, quite the opposite: research is an operating structure for the process and production of, among other things, art. It is regarded as integral to the processes of thinking, making, and reflecting, and it is important to note that curiosity, creative enquiry, and critical reflection underpin much that is considered research in various fields. The author asserts that these processes are not necessarily discipline-specific although particular disciplines have specific procedures and goals. It is argued that "provisionality" is central to what art can offer other disciplines; it can make a virtue of incompleteness. The author suggests that art open itself up to quizzical scrutiny and help others to recognise that research has long been, and will continue to be, a driving force within its makeup. The article posits an expanded notion of the artwork that is essentially provisional and reliant on spectatorial involvement
Exactitude and Uncertainty
No full text'Exactitude and Uncertainty', a paper that reflects on the nature of research as a form of exploration and the artist’s book as a means to embody this activity.
It focuses on a book project by the author, based on his ongoing research at CERN (the European Laboratory for Particle Physics in Geneva). Subjective response and reflection are fundamental to how one makes sense of the world and these form key strategies for assimilating and using the material generated. One of the book’s aims is to explore—from the viewpoint of a non-scientific artist—the human dimension to science and its status as both an ideal realm and a tangible practice. Perhaps above all, the intention is to look for those transient, poignant and often-humorous responses that people have to the ‘machine’ and its make up.
This was included in a limited edition case-bound publication of keynote and peer-reviewed papers, proceedings and documentation of exhibitions and project events at the Impact 8 International Printmaking Conference – hosted by Duncan of Jordanstone College of Art and Design, University of Dundee in August 2013. The conference theme – ‘Borders & Crossings: the artist as explorer’ highlights the experimental nature of the meeting, both as an academic platform and as a celebration of inter-disciplinarity and exploration through the medium of print
A discrete continuity
Full text link'A discrete continuity: On the relation between research and art practice' was published by The Journal of Research Practice, a peer-reviewed journal at Athabasca University Press. This article reflects on the nature of research and art practice, which makes a case for the necessary intermingling of these activities. Research is seen as an operating structure for the process and production of, among other things, art; it is regarded as integral to the processes of thinking and making, as are curiosity, creative enquiry and critical reflection. O’Riley asserts that these processes are not necessarily discipline-specific – although particular disciplines have specific procedures and goals – and it is argued that provisionality is central to what art can offer other disciplines; it can make a virtue of incompleteness. Discussing Flusser, Deutsch and Varto among others, the article posits an expanded notion of the artwork that is essentially conditional and reliant on spectatorial involvement
Laying Practice on the Line : Drawing as a Subject, Tool and Research outcome
No full textThis article originated as an accompaniment to a visual exhibition of studio outcomes to examine the methodology of my studio-based doctoral project to analyse where, how and to what end this research is reliant on practice. In my example, drawing practice is informed by collaborations in the sciences and has performed multiple functions: a subject, tool and means of disseminating outcomes. This article considers studio research activities through these three functions to identify potential for meaningful interdisciplinary exchange
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
From A to B and back
No full textO’Riley’s essay ‘From A to B and back’ focuses on the notion of a distributed work comprising a number of elements from which the viewer is free to draw connections. It considers syntactical terms such as hypotaxis and parataxis as ways of generating, thinking about or looking at artworks. These terms provide useful ways to reflect on the lateral forms of art practice. The article’s significance rests in the way that it unites seemingly disparate images and ideas to reflect on how narrative, and the construction of interpretation, are active elements within one’s response to a work. This essay is an outcome of O’Riley’s research into Printed Matter, a project reflecting upon narrative, uncertainty and de-familiarisation in the reading of artworks. For example, O’Riley’s book Twenty-Seven Kilometres (2013) explores the notion of a distributed work in relation to his experience of looking at CERN in Geneva and is based on photographs taken by O’Riley during the final stages of work on the Large Hadron Collider (LHC) at CERN, before it was switched on for the first time. Conceived of as a kind of ‘speculative archaeology’, Twenty-Seven Kilometres broadly reflects on scientific endeavour and how the immensity of nature and human theories are squared with more everyday concerns. This book was the focus for ‘Exactitude and uncertainty’, a paper presented at ‘Impact 8’ Conference (2013). The related artist’s book, A Farmer’s Almanac (2011), draws on a distributed work conceived as an almanac. The book is structured around ancient names for the full moon, often derived from Native American appellations. The bookwork also features a constructed image of the full moon generated by Dr Tony Cook of Aberystwyth University from the database sent back by the Clementine spacecraft in 1994. It was accepted for distribution by Printed Matter (New York) in 2013
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