1,722,177 research outputs found
Feminist Duration Reading Group
Full text linkSince March 2015 the Feminist Duration Reading Group has met to consider under-appreciated texts, theories and tactics from outside the Anglo-American feminist canon and to consider the contemporary resonance of earlier moments of feminist thinking, art and activism.
The series started in March 2015 with a focus on Italian feminisms. Focusing on texts from the late 1960s, the 1970s and the 1980s, the group initially highlighted interlocking strands from Italian feminisms, including: the practice of consciousness-raising, or autocoscienza within Italian feminism; tactics of emotional and professional withdrawal; and the politics of non-assimilation.
These meetings informed a two-day research symposium, Feminist Duration in Art and Curating, at Goldsmiths, University of London, later in March 2015.
Following Feminist Duration in Art and Curating, the group moved from the academic context of Goldsmiths to the public art studio complex SPACE in Hackney, where it started to meet in August 2015 on a monthly basis.
In December 2015, the public events programme ‘Now You Can Go’ took place across four London art spaces, building and reflecting on the explorations that had taken place in the reading group. Events included ‘A Feminist Chorus for Feminist Revolt,’ a spoken distillation of the monthly discussions and readings made by the Feminist Duration Reading Group, and gathered into a score by Lucy Reynolds, which was performed at the “Now You Can Go Seminar’ at The Showroom.
http://nowyoucango.tumblr.com/post/133658780340/now-you-can-go-seminar
At a public meeting of the group in February 2016, it was decided that sessions would continue at SPACE, and that the group would widen its remit to encompass other under-known feminisms, in addition to those from the Italian tradition. The group also changed the way in which texts were explored in the group, leading to the practice of reading together, out loud, on the night.
A sister group in Toronto, developed by art historian and curator Gabrielle Moser following her participation in ‘Now You Can Go,’ was set up in June 2016. An exploratory working group, Emilia-Amalia employs practices of citation, annotation, and autobiography as modes of activating feminist art, writing and research. The two groups collaborate on resources, developing sessions in dialogue response to one another’s work.
https://gallery44.org/events/emilia-amalia-working-group Moser and Reckitt discuss their exchange in the published conversation ‘Feminist Tactics of Citation, Annotation, and Translation: Curatorial Reflections on the Now You Can Go Programme,’ (OnCurating, 2016).
http://www.on-curating.org/author/tag/Gabrielle%20Moser.html#.WFpCbenn35
Nurturing quality science learning and teaching: the impact of a reading group
Full text linkTeachers are key to the delivery of quality science education experiences in Australian classrooms. In achieving this, there is a need for teachers to be better supported in thinking reflexively and critically about their practice. The Centre for [de-identified] at [de-identified] University took action to address this need by forming a reading group to encourage interested teachers of science from primary and secondary schools to meet regularly to discuss relevant journal articles and implications for their practice. This paper explores how forming a community of practice around a reading group impacted on participants’ approaches to science learning and teaching
Feminist Duration Reading Group
No full textThe Feminist Duration Reading Group (FDRG) focuses on under-represented feminist texts, movements and struggles from outside the Anglo-American canon. The group has developed a practice of reading out loud, together, one paragraph at a time, with the aim of creating a sense of connection and intimacy during meetings.
The group was established in March 2015 by Helena Reckitt, at Goldsmiths, University of London, to explore texts from the Italian feminist movement of the 1970s and 1980s. Later in 2015 it relocated to SPACE in Hackney, East London where it was hosted by Persilia Caton until April 2019. From June 2019 to February 2020 the group was in residence at the South London Gallery, where it focused on intersectional feminisms in the UK context (a planned year-long programme that was moved online due to COVID-19).
In 2023 we were one of several groups selected for the eighteen month Residents programme at Goldsmiths CCA, London.
From 2023-2024 FDRG partnered with Cell Project Space developing CEED (Central East European and Diaspora) Feminisms, funded by the British Art Network, with Cell Project Space.
FDRG sessions have been organised in London with the Advocacy Academy, Artangel, Barbican Art Gallery, Cell Project Space, Chelsea Space, Chisenhale Gallery, the Drawing Room, Feminist Library, Flat Time House, Goethe Institute, Goldsmiths CCA, Mimosa House, Mosaic Rooms, The Showroom, Sine Screen, South Kiosk, Studio Voltaire, Tate Modern, in collaboration with AntiUniversity, the Department of Feminist Conversations, and FIELDNOTES, and as part of The Table at the Swiss Church.
Elsewhere in the UK the FDRG has been hosted by Grand Union and Eastside Projects, Birmingham, esea, Manchester, De La Warr Pavilion, Bexhill-on-Sea, and Hypatia Trust, Penzance. A sister group, NW FDRG, was set up in Liverpool by Kezia Davies in 2019.
Internationally we have partnered with Emilia-Amalia at Art Metropole in Toronto, Canada; Kunstverein Harburger Bahnhof and HFBK Hamburg, Germany; and with ‘Hope is a Dscipline’ curators as part of the 2024 October Salon in Belgrade, Serbia. In 2025 the group contributed to Mundos Habitables (Liveable Worlds), an online resource devised by Peruvian-based curator Susan Quinilan.
Online international meetings have been held with groups including Radical Sense in Tirana, Albania, Mai Ling in Vienna, Austria, and the Gender Studies journal in Kharkiv, Ukraine.
In 2015, at the end of the FDRG’s first year, seven members - Angelica Bolletinari, Giulia Casalini, Diana Georgiou, Laura Guy, Helena Reckitt, Irene Revell, and Amy Tobin - organised the two-week long events programme, ‘Now Can Go,’ focused on legacies of Italian feminism, across the ICA, The Showroom, SPACE, and Raven Row in London.
The group usually meets once a month, in art spaces and community venues as well as non-institutional venues such as private homes or gardens. From 2025 - 2027 we are Residents at Goldsmiths CCA, London.
The FDRG aims to create an inclusive trans-positive space. We welcome feminists of all genders and generations to explore the legacy and resonance of art, thinking and collective practice from earlier periods of feminism, in dialogue with contemporary practices and movements
Role of topical immunotherapy in the treatment of alopecia areata. Quality analysis of articles published between January 1977 and January 1988 about three treatments
No full textWe conducted a survey of clinical trials to assess the scientific evidences presented for the practical use of dinitrochlorobenzene, squaric acid dibutylester, and diphencyprone in the treatment of alopecia areata. Twenty-six papers published between January 1977 and January 1988, in English, French, and Italian were selected. We used a standardized protocol of evaluation, which focused principally on the reporting of methods. Twelve papers were uncontrolled studies. Of the controlled studies, 11 had a self-controlled design, two studies involved the use of parallel concurrent controls, and seven were randomized trials. With regard to criteria for entry, follow-up schedules, and criteria for evaluation of response to treatment, the studies were scored generally poorly; therapeutic regimen, patients' characteristics, withdrawals, and description of side effects in these studies were rated more highly. In light of our results, further and better-designed studies are needed for acceptance of dinitrochlorobenzene, squaric acid dibutylester, and diphencyprone in current therapy
A Feminist Chorus for Feminist Revolt
No full textA Feminist Chorus for Feminist Revolt was performed as part of Now You Can Go, the series of events, screenings and performances organised by Helena Reckitt in response to the discussions arising from the readings of Italian feminist writers of the 1970s such as Carla Lonzi and Silvia Federici, by the Feminist Duration Reading Group.
The reading group selected short extracts from key texts which had been discussed, and these were performed as a score at a symposium hosted by the Showroom Gallery, London, on December 12th 2015
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
It's about where we put our energy: Embodied Citation and the Feminist Duration Reading Group
No full textThe following conversation took part online over the course of several weeks in 2018 in response to an invitation from Madeleine Hodge, Clare Qualmann, and Amy Sharrocks to contribute to their newspaper ‘Daylight,’ which was published by the Wellcome Collection, London, in 2018, as part of their artistic residency, ‘Daylighting,’ at the Collection. A further invitation from curators Alexandra Balona and Sofia Lemos to contribute a chapter to their edited book Metabolic Rifts Reader, Berlin/Lisbon: Atlas Projectos, published in 2019, prompted an expanded version of our exchange. Due to the word lengths of the two publications, some 50% of the original exchange was cut. Here we share the full exchange.
Contributors respond to the following posed by Helena Reckitt:
- Why do you think reading and research groups like these are needed right now?
- What has been important / meaningful to you about this particular group?
- Do any particular Feminist Duration Reading Group meetings stand out for you?
- What does the practice of embodied citation mean to you, in relation to activities of the FDRG and more broadly?
- How does your work or practice aim to transmit feminist knowledge and build feminist culture within a collective context?
- What aspects of feminist cultural history can current and younger generations of feminists learn from?
- What are some key differences that emerge between some of the historical forms of feminism explored in the FDRG and current manifestations of feminism?
The co-authors include regular participants in the FDRG, including those who initiated key events in the first three years of the group’s development, as well as occasional collaborators based outside London, in Glasgow (Laura Guy), Toronto (Gabby Moser), Sydney (Diana Baker Smith), and Beijing (Cinzia Cremona)
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
Revolutionary researchers reading group
No full textThe first Revolutionary Researchers event of 2015 was a reading group on the theme of ‘Continuity and Rupture’ in the period 1789-1830 on 26th February at Warwick before a fascinating seminar with Munro Price on 1812-1814 and the fall of Napoleon. Jonathan has been the driving impetus behind this first reading group and the reading we discussed was as follows: · Roger Chartier ‘Do Books Make Revolutions?’ in Roger Chartier, The Cultural Origins of the French Revolution, trad. by Lydia ..
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