1,721,495 research outputs found
Simon Martin
No full textFor his first solo commission in a British public space Simon Martin presents Untitled (2008), a new single-screen video installation conceived specially for this exhibition at Chisenhale.
Martin’s practice examines the cultural significance of art and artifacts and our relationship to them, and encompasses painting, sculpture and moving image. In recent years he has focused almost exclusively on film. Untitled marks a departure into the realm of high definition, CAD (computer assisted design) animation.
In 1998 Martin made a photorealist painting of a strawberry poison dart frog based on a found photograph. Untitled returns to that same source image though here it is rendered in a fully three-dimensional state. The animation of the frog could be seen as a collection of establishing shots, carefully observing the creature and exploring the virtual space of the synthetic image. Moving between stillness and motion, Martin’s digital rendering of the photographic image creates an uncanny effect and a self-reflexive comment on the construction of images
Alternative chemistries for etching of silicon dioxide and silicon nitride
Full text linkThesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1997.Includes bibliographical references (p. 123-126).by Simon Martin Karecki.M.S
UR Feeling
No full textFor UR Feeling, Simon Martin brings together a selection of objects and images from artists and designers including Ettore Sottsass, Scott Burton and Stephen Shore. It is an investigation into affect and the state between knowing and sensing, in relationship to materiality and the built environment. Martin’s collection forms an open ended dialogue around the ideas and influences which form the basis of his artistic research.
Martin’s work reflects upon material culture; he is interested in how we understand ourselves through social structures, mythologies and collective memory evidenced in art objects, mass media, popular culture and the built environment. The exhibition will be punctuated by discussions, performances and film screenings involving writers and artists.
UR Feeling also acts as research for a new film which Martin is developing
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
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
Simon Martin, Augustas Serapinas, Bridget Smith Group Exhibition Stanley Picker Gallery 2017
No full textSimon Martin, Augustas Serapinas, Bridget Smith Group Exhibition Stanley Picker Gallery 2017
Exactly twenty years since its inaugural exhibition in February 1997, the Stanley Picker Gallery building reflects back upon itself, through a group show bringing together an architectural intervention by Simon Martin, a site-specific commission by Augustas Serapinas, and a series of photographic studies of the Picker House interiors by Bridget Smith.
Simon Martin is Stanley Picker Fine Art Fellow at Kingston University. Building upon his past work on subjectivity and the built environment, he is undertaking new research around ideas of Objecthood, sound and memory. Whilst the first public manifestation of Martin’s fellowship commission will take place in the coming year, the artist has intervened in the current layout of the venue as an artistic gesture which nods to the Gallery’s past. Through a simple act of reinstating the original entrance, exposing previously hidden windows, and removing all artificial lighting, Martin reconfigures the building and its navigation, returning its essential architectural status, and highlighting its island location along the Hogsmill River, opposite Kingston School of Art.
Augustas Serapinas’ practice is invested in recomposing socially engaged spaces, in order to foreground and problematise the assumptions that shape them. By inverting the customary functions of objects and spatiality, Serapinas toys with the possibilities of the encounter – with art and with the social relations it engenders – as a phenomenon and an opportunity. Serapinas’ new commission at Stanley Picker Gallery is a secret project, entrusted by the artist to the infrastructure of the organisation, including its staff. As the project evolves over the course of the exhibition, its secrecy also transforms oscillating between facts and rumours.
In juxtaposition to the minimal intervention in the main exhibition space, Bridget Smith’s series of six photographs creates a unique portrait of the Picker House’s strikingly designed interiors. Stanley Picker, the arts patron after whom our Gallery is named, lived there until his death in 1982. The domestic setting remains immaculately preserved, very much as it was when Stanley resided there with his life-partner Paul Kavanagh. Smith’s images respond to the theatrical sensibility of the House, moving from the more public spaces filled with daylight and warm orange furnishings to the yellow and green subterranean light of the private rooms. Smith plays off the charged atmosphere of the House, detached from the life of its inhabitants. It is the exuberant artworks that are now the animated presence in the space, pointing to the life force once held within. To commemorate its 20th anniversary, the Gallery has produced a postcard edition of these six images, forming part of a special episodic mail-out designed by Fraser Muggeridge studio, released over the course of this year
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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