1,720,975 research outputs found
Near Real Time [single-screen]
No full text'Near Real Time' (2014) Single-screen version, 4K Digital Video, Standard Definition Analogue Video and Archive Footage; Colour and Black & White; Sync Sound. Duration: 24min
In 'Near Real Time', Gail Pickering draws from her research into a pioneering social experiment in community television which took place in France in the 1970s. Participants of the project disputed the image they had once collectively made culminating in a climate of widespread distrust about its political objectives.
The last remaining recordings of their live broadcasts provide a space for Pickering to address the subjectivity of the televisual image itself, fictionalising the literal cuts of the historical material. Using montage to mimic the episodic and fragmentary character of both television and the video tape recordings as well as incorporating historical as well as new material.
All the on-screen characters instinctively mouth a shared monologue, a collective voice that shifts between being a story-teller, a conversationalist and an interrogator, each addressing the choreography of images that we see. The artist uses dubbing and lip-synching to produce a narrative that explores the physicality of the projected image and the space in which the community found itself.
The work was commissioned by FLAMIN Productions through Film London Artists’ Moving Image Network with funding from Arts Council England, the Elephant Trust and Goldsmiths University of London.
The single-screen version was premiered in the 58th BFI London Film Festival on October 17, 2014
Near Real Time [three-channel video installation]
No full text'Near Real Time' (2014) Three channel video installation, 4K Digital Video, Standard Definition Analogue Video and Archive Footage; Colour and Black & White; Sync Sound. Dimensions variable; Duration: Infinite loop.
In 'Near Real Time' a three-channel video installation, Gail Pickering draws from her research into a pioneering social experiment in community television which took place in France in the 1970s. Participants of the project disputed the image they had once collectively made culminating in a climate of widespread distrust about its political objectives.
The last remaining recordings of their live broadcasts provide a space for Pickering to address the subjectivity of the televisual image itself, fictionalising the literal cuts of the historical material. Using montage to mimic the episodic and fragmentary character of both television and the video tape recordings as well as incorporating historical as well as new material.
All the on-screen characters instinctively mouth a shared monologue, a collective voice that shifts between being a story-teller, a conversationalist and an interrogator, each addressing the choreography of images that we see. The artist uses dubbing and lip-synching to produce a narrative that explores the physicality of the projected image and the space in which the community found itself.
The installation consists of three projection screens presented in a zigzag formation. Seen from both sides, the projected images overlay and fragment as the viewer moves between and around them, their own shadows occasionally becoming part of the image.
The work was commissioned by FLAMIN Productions through Film London Artists’ Moving Image Network with funding from Arts Council England, the Elephant Trust and Goldsmiths University of London.
The three-channel video installation ‘Near Real Time’ was the primary work in the major solo exhibition ‘Mirror Speech’ at BALTIC Centre for Contemporary Art, Level 2 Gallery between 31-October 2014 and 11-January 2015.
A single-screen version was premiered in the 58th BFI London Film Festival and in the Jarman Award 2015 touring programme and is included in the LUX Collection
Mirror Speech [Solo Exhibition]
No full textBALTIC Centre for Contemporary Art, Gateshead presents a major solo exhibition by British artist Gail Pickering.
For her exhibition Mirror Speech, Gail Pickering draws from her research into a pioneering social experiment in community television which took place in France in the 1970s. Participants of the project disputed the image they had once collectively made culminating in a climate of widespread distrust about its political objectives. The last remaining recordings of their live broadcasts provide a space for Pickering to address the subjectivity of the televisual image itself, fictionalising the literal cuts of the historical material.
The artist has wholly transformed the gallery space with a series of interconnected chambers where she has imagined a site for this cultural production and their social spaces to suggest a place of live transmission. Pickering uses montage within her videos to mimic the episodic and fragmentary character of both television and the video tape recordings.
Central to all the works in the exhibition is the use of the voice. All the on-screen characters instinctively mouth a shared monologue, a collective voice that shifts between being a story-teller, a conversationalist and an interrogator, each addressing the choreography of images that we see. The artist uses dubbing and lip-synching to produce a narrative that explores the physicality of the projected image and both the space in which the community found itself.
Pickering's video and performance works often function as social proposals that involve a process of collaboration working with amateurs, professional actors and performers. By referring to specific sites and historical and political events, the artist speculates on notions of temporality and presence
She was a Visitor [installation]
No full text‘She was a Visitor’ encompasses a large-scale installation featuring a 24-metre long cyclorama wall lit entirely with red lights, accompanied by a spoken word and sound performance.
The work is an expansion of research into the last remaining videotape recordings of a 1970s community television project and the activists who allegedly appropriated its objectives. Both aspects of the installation and performance investigate, through distinct spatial and performative means, questions of visibility, subjective agency and construction of community through its image.
The architecture of the cyclorama was developed in reference to film and television production, an infinity space for the projection of a multitude of fictions. The ambient red light sublimates a reference to radical militant cinema. On entering the installation, the viewer temporarily becomes complicit in a theatrical rendering of their own self-awareness: physically subsumed by the red colour cast of the light, their eyes adjust to a monochromatic vision not unlike that seen in the historical black and white video recordings.
The installation was further activated through a series of live performances based around a spoken word monologue shaped by a reverberating live bass sound. The piece interweaves latent narrative histories of radical militant cinema through the prism of the cyclorama and vision itself. These took place on the final day of the exhibition on 11 January 2015
She was a Visitor [performance]
No full text‘She was a Visitor’ encompasses a large-scale installation featuring a 24-metre long cyclorama wall lit entirely with red lights, accompanied by a spoken word and sound performance.
The work is an expansion of research into the last remaining videotape recordings of a 1970s community television project and the activists who allegedly appropriated its objectives. Both aspects of the installation and performance investigate, through distinct spatial and performative means, questions of visibility, subjective agency and construction of community through its image.
The architecture of the cyclorama was developed in reference to film and television production, an infinity space for the projection of a multitude of fictions. The ambient red light sublimates a reference to radical militant cinema. On entering the installation, the viewer temporarily becomes complicit in a theatrical rendering of their own self-awareness: physically subsumed by the red colour cast of the light, their eyes adjust to a monochromatic vision not unlike that seen in the historical black and white video recordings.
The installation was activated through a series of live performances based around a spoken word monologue shaped by a reverberating live bass sound. The piece interweaves latent narrative histories of radical militant cinema through the prism of the cyclorama and vision itself. These took place on the final day of the exhibition on 11 January 2015.
The large-scale installation and performance ‘She was a Visitor’ was part of the major solo exhibition ‘Mirror Speech’ at BALTIC Centre for Contemporary Art, between 31 October 2014 and 11 January 2015, produced with the support of BALTIC and Goldsmiths University of London
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
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