1,721,073 research outputs found
Brendan Lee, Shaun Wilson, Alexandra Gillespie
No full textBrendan Lee, Shaun Wilson, Alexandra Gillespi
Public opinion and democracy
No full textOpinion polls are a resource for the worst kinds of political cynicism - pitting majorities against outsiders and cultivating short-term thinking on policies - argues Shaun Wilson. Yet our social and political compasses are probably more reliant than ever on them
Shaun Wilson Uber Memoria X
No full textUber Memoria X is a video play created in ten parts under the auspice of the wider 51 Paintings Suite collective of slow cinema art produced by Dr. Shaun Wilson. The Uber Memoria X series draws parallels from early silent cinema and reconfigured European Romanticist paintings through the guise of a gothic sublime. The video series investigates Wilson fascination with eighteenth and nineteenth century gothic imagery spawn from the nightmarish depictions of Fuseli, Goya, Friedrich and the literary work of Horace Walpole. While lacking in the quintessential gothic motifs of fangs, horns, blood, and pointed hats, Wilson instead takes a sentiment of gothic through the sublime which is implied through the gaze of a fixed attention by garnishing characters in worn and tarnished eighteenth century garb and subverted an understanding that, as Hitchcock lamented, implies something is about to happen or has just occured inasmuch pantomime as the awareness of a pending danger lurking outside of the video frame. As each act of the Uber Memoria X series unfolds, we subscribe to an oscillation between the reconfigured image and that of an affected cinematicness grafted through emotive values yielded in parallel but in doing so, subverts the image to reflect a memory of its former from staged reproductions of character poses played out from the original source paintings in ways that transpire a journey into the bleakness of the image and the futility of its reimagined state
Obstructing government or stopping bullies: what do Australians think about government control of the Senate?
No full textIs John Howard right to call the Senate a house of obstruction, asks Shaun Wilson. A plurality of Australians prefer a non-government controlled Senate, and this is the strong preference of a large number of Australians who think government is run by for big interests. Howard says constitutional reforms like the one he proposes are notoriously difficult to pass. He is right -- large numbers of Australians don\u27t share his views about the Senate because they don\u27t share his views about power
Does the social capital hypothesis offer hope for untrusting societies?
No full textAcademics, politicians, and commentators influenced by the idea of social capital claim that enhancing the social capital of the community can restore trust. Toby Fattore, Nick Turnbull and Shaun Wilson argue that the relationships described as trust are quite distinct, and we should not expect straightforward \u27more community\u27 solutions to be effective in building trust. They consider why social capital measures do not confirm the intuitions of social capital research and propose alternative ways of looking at the problem
Time out
No full textCatalogue essay by Shaun Wilson.
Published to accompany the exhibition held at s.p.a.c.e. Gallery, Launceston, Tasmania, 6-20 July 2007
Uber Memoria XXI, I-IV
No full textResearch Background Current international developments in Video Art have reflected a questioning of the world through the language of memory as social device. While this research recognizes the significance of such implications, it moves to interrogate the ways in which memory can be used beyond this framework; and by this, contribute to the field through innovation and originality. Research Contribution The video artworks 'Uber Memoria XXI - I-IV' by Shaun Wilson is part of a wider ongoing investigation that probes how memory can be used not only as a visual thematic but moreover, how the philosophical implications of reverie can be manifested into both the application of a visual artefact and the conceptual values attained from a demonstrated outcome. In doing so, it arrives at a new benchmark for the discipline in understanding how memory can be positioned as both a production tool and an experiential device for Video Art. Research Significance The significance of this research is that it enabled a study that overcame barriers for visually understanding the implications and limitations of philosophical approaches to memory through art. Its value is attested to by the following indicators: public exhibition in the invitation exhibition 'Hits and Memories' curated by Malcom Bywaters at the Academy Gallery, University of Tasmania featuring prominent artists including Lyndal Jones, Jon Cattapan, and Robert Bridgewater; screening at the 9th International Imagen Festival in April 2012 at Manizales, Columbia; screening at the Electronic language International Festival July-August 2012 at the Ruth Cardosos Cultural Centre in Sao Paulo, Brazil; screening at the 2012 Miden Video Art Festival at Amefeias Square in Miden, Greece; and screening at the XI Berlin International Directors Lounge at the Naherholung Sternchen in Berlin
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
- …
