1,720,969 research outputs found
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
Engaging Feeling: The Subject of Landscape in the Twenty-First Century
Get PDFAs an artist my research involves reappraising the visual-spatial structures that define the conventional landscape idea, in order to move landscape from ‘de facto’ representational image towards an idea of mutuality and embodied form. This includes the study of pre-genre landscape backgrounds, exploring how to access difference from within the Western landscape tradition. Through a discussion of recent works derived from these early Italian paintings, this paper examines how empathy becomes a key tool in reshaping landscape’s image.
Drawing from recent feminist theories that address the binaries of Western thought through materiality and affect, the examination explores ways that the painted landscape form – rather than existing as the visual ‘object’ to the viewing ‘subject’ – carries agential properties in itself that facilitate empathic connections. Developing Bernard Berenson’s notion of ‘tactile values’ and Vernon Lee’s associated concept of ‘empathy’, the relationship between materiality and signification within these artworks is examined, in order to gain an understanding of landscape that is shaped through empathy and affect, and that situates the visual within embodied experience.
Focussing especially on the trope of the cave, the paper examines how these wilderness backgrounds collapse the intractable dualisms associated with landscape. Their craggy spaces connote embodied rather than exclusively visual experience and suggest physical affinity rather than a visually-orientated construction of space. This presents an opportunity to align human and landscape in ways that befit 21st Century concerns, addressing the dissonance between landscape as aesthetic image and landscape as material source
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
Transformative Wilderness
Get PDFOf Earth For Earth is a dialogue between artists, community representatives, industrialists and educators. It aims to inspire debate about human interactions with the Earth, while our consumption of resources grows ever larger and while the environments on which we depend face an uncertain future. This book speaks to our sense of belonging to place, time, natural and cultural heritage. It describes the geologically-grounded and contested places in which mining inspires expectations and hopes, or disappointment and frustration. The book recognises failings in our relationship with Earth and interrogates our commitment to change. Through dialogue and debate, perhaps we may unearth mechanisms to carve out a more sustainable relationship with the Earth while maintaining access to the resources that will support the global population
Landscape after Landscape: Before the Genre and Beyond the View
Get PDFThis paper is contextualised by the ideological implications surrounding the notion of landscape, including the relationship between its genre in painting and the development of European capitalism. It proposes the idea of the landscape fragment derived from the background scenery of early Italian painting, which stands in counterpoint to assumptions about the genre. These early landscape spaces are pertinent because they are not considered ‘landscape’ as such and are not constructed by entrenched Cartesian dualisms. I argue it is possible to re-evaluate restrictive assumptions about perspective and landscape, in order to raise questions of translatability and difference so as to replace the dominating norms habitually associated with these terms
The Shape of Landscape: Reimagining Space for the Anthropocene
Get PDFAs an artist my research is focussed on landscape’s characterisation as ‘image’ and I consider the problematic implications of this at this juncture in history. I am especially interested in critiquing the assumptions of realism generated by visual technologies that have grown out of a Western perspectival history, whose hegemonic forms have established a regime of unproductive distance, characterising landscape as three-dimensional ‘space,’ the generalised background in front of which human action is played out.
For this workshop, I will discuss an ongoing exploration of landscape that draws from bodily and material sensibilities, which I find in the landscape backgrounds of late medieval paintings. These works present the landscape as something other than Cartesian extension and as such can help to alter its increasingly unproductive positioning within Western subject/object ontologies. Rather than being the straightforward settings in which human narratives are enacted, I will argue that their unique forms in fact work in a way that triggers a physical empathy and can therefore become a ‘tool’ for mitigating the feelings of loss created by ecological collapse.
By moving beyond landscape as the ‘de facto’ representational image to a sense of landscape as embodied form – understanding landscape as ‘body’, and defining it as non-human subjectivity – requires a reappraisal of ontological definitions, and especially of space and our relation to it. This pre-historical framework to the imbrication of image and space is re-visited, and is found to offer up creative possibilities for re-thinking landscape under the conditions of the Anthropocene
The Landscape Image in the Anthropocene
Get PDFThis talk introduced my practice and research within the context of the workshop's stated themes:
Earth Humanities engages with urgent issues of climatic and environmental change. We are particularly interested in the challenges posed to Arts and Humanities researchers by the concept of the Anthropocene.
The Anthropocene recognises the power of humankind as an agent of geological transformation. Our past, present and future relationship to the subterraneous realm is therefore a matter of urgent enquiry. Mining earth and rock has unprecedented impacts for human and other-than-human life-worlds underground, on land, in water and air. Working in conversation with artists, historians, poets, writers, geologists, miners, archaeologists, metallurgists, environmental scientists, activists and practitioners we explore together the complex and unequal processes of extraction in the world today. We consider the work of mining and industry on landscapes and ecologies across multiple, interacting spatial and temporal scales. We also trace the narrative and representational frameworks that have given shape and justification to extractivist thought. Originating in the European Enlightenment and now merged with modernity’s belief in continued progress and economic growth, many societies of the West and Global North have become distracted, disconnected if not ignorant of their roles in perpetuating colonial modalities of extraction.
New imaginings of the subterranean are urgently required if we are to find ways to better care for the earth on which human and non-human life depends. How can we make visible the other-than-economic value of the subterraneous environment beneath our feet? Earth Humanities sets out to ask questions of human and more-than-human relationships with the underground in a creative, collaborative and imaginative space to find ways to be more caring, less violent, and connected to the underground.
The Centre for Environmental Arts and Humanities with the Earth Humanities Global Partnership, University of Exeter
Landscape After Landscape: Pre-Genre Italian Backgrounds in a Post-Genre Digital Age
No full textArtificial perspective and subsequent photographic technologies have been implicated in a dominating Western way of seeing—referred to here as 'natural vision'—in the critical discourses that have defined the last thirty years. These discourses of visual representation provide the background context against which the questions that shape this research are formed. It is set out to investigate whether early background forms derived from proto-perspective paintings can be employed to form an invigorated idea of landscape that is addressed to the crises that shape the present. And secondly, it asks whether it might be possible to redeploy perspectival technologies so that their earliest beginnings can problematise today’s digital contexts, rather than dismissing perspective as the progenitor of a visuality that controls and fixes the status of the observer in the logic of late capitalism. The thesis articulates the artwork’s material presence in relation to these visual, image-producing technologies. It is divided into three chapters, which outline twinned aspects of the practical and theoretical research: ‘Landscape / Fragment’, ‘Materiality / Affect’, and ‘Perspective / Projection’. Each chapter explores different facets of the argument, and the theoretical discussion unfolds through the studio work. With its emphasis on materiality, the thesis considers how these technologies can be used to challenge dominating visual structures as opposed to continually reinforcing them. The research looks beyond the linguistic tendencies of poststructuralism, and considers recent theories of materiality and affect. It draws from semiotic approaches that challenge the scientifically endorsed image of visual truth, and explores other articulations for the landscape image. It asks how these might be used to reimagine subject-spatial configurations defined through representation, and to challenge the associated linearity of narrative history. It is rooted in a desire to confront the extremes and excesses of ideologically driven and radicalised perspectival technologies
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