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Documentary
Full text link"This anthology explores documentary's roots in modernism and its critique under postmodernism" -- p. [4] of cover
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
A política do ensaio político de catálogo
No full textEste texto foi originalmente publicado no livro Villa Lituania, que aborda o trabalho homônimo, apresentado pela dupla de artistas lituanos Nomeda & Gediminas Urbonas na 52ª Bienal de Veneza, em 2007. O título designa o edifício que até 1940 sediou, em Roma, a primeira embaixada da república independente da Lituania, mantido sob jurisdição das autoridades russas mesmo após a queda do bloco soviético, em 1989, e considerado, pela ex-república soviética, território nacional ocupado. O trabalho implicou na construção de um pombal na Villa Lituania e numa série de ações de conotação política e social em Veneza, Roma e Vilna, cidade onde a dupla reside. Os artistas são conhecidos internacionalmente pela dimensão política e social que pretendem infundir a suas ações. Não obstante a forte carga ideológica que envolveu a intervenção de Nomeda & Gediminas Urbonas na Bienal de Veneza, neste ensaio o autor, tributário da tradição marxista, demonstra notável ceticismo em relação à potência crítica do discurso marxista evocado em parte significativa da arte contemporânea.This text has been originally published in the book Villa Lituania, which approaches the homonymous work presented by the lithuanian artists Nomeda & Gediminas Urbonas, at the 52ª Venice Biennial, in 2007. The title is the name of the building used until 1940 as the seat for the first independent Lithuania Republic's embassy, in Rome, nevertheless kept under the jurisdiction of Russian authorities since the fall of the soviet bloc, in 1989, and considered, by the ex-soviet Republic, national territory under foreign occupation. The work involved the creation of a pigeon loft at Villa Lituania building, as well as a series of actions targeted at social and politic issues in Venice, Rome and Vilnius, where the tandem lives. Socially and politically addressed actions have made the artists internationally known. Notwithstanding the strong ideological drive of Nomeda & Gediminas Urbonas' intervention at the Venice Biennial, the author, an heir to the Marxist tradition, shows in the essay a remarkable skepticism regarding the critical power of the Marxist discourse evoked in most of contemporary art
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
Entangled in the Forest of Brexit
Full text linkEpping Forest, once a royal hunting ground, known for its ancient oaks (symbols of England) lies on the outskirts of London. Now given over to the public, divided by roads and hemmed in by private property, it is a suburban woodland. Brexit—the vote to leave the European Union—sharply divided remainer London from the neighbouring county of Essex, which voted strongly to leave. The border between the two runs through the forest, sometimes following tracks and streams, and sometimes straying into dense thickets. For this photographic slide display, I followed it as best I could using map and compass, on a meandering and doubtless erratic path, looking for signs of social disaffection on the hinge of English county and global city
Baca Buku ini Biar Artsy
No full textSeni kontemporer memang tidak pernah menjadi begitu populer, tetapi apa perannya dewasa ini dan siapa yang mengontrol masa depannya? Seni kontemporer seharusnya menjadi dunia kebebasan di mana seniman-senimannya membuat kejutan, melanggar tabu, mencemooh ide-ide yang umum diterima, dan menghadapkan pemirsa seni kepada karya-karya yang sangat emosional atau hanya sekadar karya yang remeh temeh namun mencengangkan. Namun, di luar kejutan di ruang-ruang galeri, masih ada begitu banyak pertanyaan yang belum terjawab. Siapa sebenarnya yang menjalankan dunia seni? Apa efek dominasi politik dan budaya Amerika Serikat yang tumbuh terhadap dunia seni? Di sini, Julian Stallabrass membawa kita ke dalam dunia seni internasional untuk menjawab pertanyaan-pertanyaan ini serta pertanyaan kontroversial lainnya, dan untuk menyatakan bahwa di balik keragaman seni kontemporer dan ketidakpastian yang tampak, terdapat keragaman yang suram.Misteri yang melingkupinya terlalu mudah dijelaskan, kedalamannya jauh lebih dangkal daripada yang tampak. Seni kontemporer berupaya memperdaya pemirsanya sekaligus menjadi budak secara suka rela oleh pelaku bisnis dan pemerintah. Buku ini adalah suatu penawar yang akan mengubah cara pandang dan sikap berkesenian kita. Semoga dengan membacanya, akan membuat kita menjadi lebih artsy secara hakik
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