1,720,972 research outputs found
Curated Immersion: An Exploration of Participatory Arts Practice in Healthcare Contexts
Full text linkResearch into the nature of participatory arts practice in health is scarce. Literature discussing this practice lists successful components but there are few conceptualisations of the practice that draw these components together. Assemblages available are specific to health contexts or art-forms and therefore this research investigates the common componential nature of participatory arts practice in health (PAPH) and aims to map a casual network of this practice.
Artist ‘case studies’ are formed from data gathered through social-science methodologies (observations and semi-structured interviews). These case studies are coded and then displayed as data matrices, used to collate common components across the diversity of practices. Causation networks then plot the causal relationships of these components and a map is created to visualise the collective whole. This map is then analogised as a terrarium, an emblem of the whole practice, describing both the constituent parts of PAPH and its assembly.
The findings reveal that, despite the diversity of PAPH, common components - and their assembly - exist. This research suggests that PAPH consists of a carefully curated and attentively adapted space in which an immersive, co-created, participatory experience is nurtured
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
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
Camping in a Mudhouse: Ruins and Fragments as Tropes of Reflexivity
Full text linkThis paper contextualizes three iterations of contemporary art practice performed in Delhi, September 2014, and explores the notion that artistic activity occurs first of all in the field of distribution. In this paper I speculate on the insistence of a procedure that uncovers the spaces of potential and allows new voices to emerge through a dispersed practice. These new works are part of a broader practice where I am trying to highlight the creative potential of the fragment to restore an embodied relationship to the world. These new works are a direct result of my speculative proposal included in the exhibition curated by Raqs Media Collective as part of INSERT2014 titled 'New Models on Common Ground' held at the Indira Gandhi National Centre for the Arts in Delhi, February 2014. The paper explores creative work that attempts, as Marcel Duchamp once put it, to be not of art, but outside the usual parameters of art and which sidesteps or at least delays being co-opted by the institutions that define art as ‘art’ and that have traditionally distributed it
Idiosyncratic Spaces and Uncertain Practices: Drawing, Drifting and Sweeping Lines Through the Sand
Full text linkI am sitting on the doorstep of the hotel side door, thinking of thresholds - marginal spaces that provide the kind of ambiguity I need to practice, to disperse, to encounter, to act – not standing for anything certain but renegotiating a relationship with audience; testing out work that is perhaps not “of art” (Duchamp 1913, 105). I pick up on a kind of creative energy found in such settings as abandoned buildings, building sites, cracks, gutters, vacant lots, wind and dust, clefts and fissures, and the crumbling pavement beneath my feet - they offer a useful metaphor for my (our?) uncertain? state of being.
Marcel Broodthaers wrote: "The definition of artistic activity occurs, first of all, in the field of distribution" (Crow, 1996 177). According to Daniel Kunitz (2011 47-52) the lesson of such earlier efforts in the1960’s where art challenged context, is that if you want to disrupt the understanding of what art is, you need to alter how it gets to its audience (see Fig. 7-1) and somehow rupture its first (physical) and second (conceptual) frames (Kosuth, 1977 169-173).
This paper explores the nature and characteristics of a kind of ad hoc drawing practice that emerged during a short residency in Delhi in the autumn of 2014, together with an unofficial offshoot of the main residency programme – a sort of escape. I am reflecting on the possibilities of a practice at the interstices between the individual and the collective, between purpose and play – a kind of non-place. This space is not yet a place, or at least if it once was a place, it has somehow lost its place within the master-plan and is slowly falling away from its institutional configuration (see Fig. 7-2).
The broader project contextualizes the continued value of drawing as an ad hoc, semi-structured method, alongside the tendencies amongst a number of contemporary artists re-examining the status of the art object and questioning its position as highly valued, unique commodity-component as we enter the Age of the Anthropocene.
In order to offer context, the chapter very briefly touches upon artists incorporating their own labour and that of others as the artwork, in relation to traditional forms of object creation for market exchange. The chapter considers the value of ad-hocism and purposeful purposelessness as strategies for developing new approaches to drawing, opening new directions for practice research as an aid to reimaging cultural sites in neglected urban settings such in Delhi (see Fig. 7-3).
The chapter reflects upon the nature and value of specifically improvisational drawing and contouring practices which involved street encounters, sweeping and drifting through the city following the cracks, contours and tears within the urban fabric. Reference is made to precedents in art concerning the function of labour within artistic outputs; problematizing the relationship between art and capital; provisionality; the lasting document; and drawing as a social practice
Disclosing ambivalence: contouring, uncertainty and the paradox of escapology
Full text linkThis paper contextualizes two iterations of art practice performed in 2014 by Shepley (i) in the ruined catholic seminary St Peters, Kilmahew, Scotland and (ii) Connaught Place, Delhi, India. The paper examines ways in which he has sought to prolong the notion of artistic activity within the field of distribution and his efforts to disclose potential breaches in the cultural infrastructure emerging through dispersed and uncertain practices. These selected micro-encounters extend the provocation put forward by the Raqs Media Collective during INSERT2014 in Delhi. They are part of his broader practice research highlighting the potential of creative indeterminacy to, push away from ‘art’ and to restore an embodied relationship to the world. The paper explores creative work that attempts, as Marcel Duchamp once wrote, to be not of art, and to delay closure – that closure being the co-opting of art by the institutions that define art as art and that have traditionally distributed it
Contouring with a sweeping brush as a catalyst for social engagement and urban renewal
Full text linkRuins make for a naturally good metaphor for my circumstance as an artist and a human
being, in that they provide me with both a symbol for my uncertainty and supply a kind of
creative energy that I can channel and a psychological space I can occupy. They seem
paradoxical - pointing in two directions. In one direction, they point towards the past,
something lost or fading away and yet they also seem to point simultaneously to something
yet to be – something as yet undetermined - something that indicates possibility or hope.
They are incomplete, contradictory, ambivalent. They signal doubt and uncertainty. But at
the same time, they are embryonic - marching time - waiting. To me ruins are dynamic,
energizing, enthralling.
In this presentation, I reflect on some of the works I have been making in relation to ruin,
waiting and the unfinished
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe 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
Ibid
Full text linkThe exhibition comprised an improvised, multi-media site made by grouping together
seven elements formed from various media and materials. Found and made objects,
broken models and fractured forms, photographs, video and sound immersed
the viewer in a place of making and unmaking – a form of heterotopia - to speculate on the
notion of a work’s becoming and create new narratives of possibility. His new film ‘I am
from Leonia’ influenced by Italo Calvino’s book Invisible Cities (particularly the cities of
Leonia and Sophronia) was a new video piece made especially for this show at KDMOFA. In
the video which is played on a continuous loop, the viewer witnesses a figure steadily and
purposively sweeping his way around what appears to be an abandoned and ruined
building and attempting to fulfil the seemingly impossible blueprint referred to by the
inhabitants of Invisible Cities. (http://eprints.lincoln.ac.uk/17217/
- …
