121,466 research outputs found
Associate Professor Slade Lee
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Assoc. Prof. L. Slade LEE has almost 30 years experience working in horticultural research, molecular plant genetics and plant breeding across a broad range perennial, annual and cereal crop species. He has extensive experience in biological research management and project supervision.</div>
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Slade is currently a Principal Research Leader for the Cooperative Research Centre for Remote Economic Participation employed in this role as Associate Professor at Southern Cross University (SCU) Division of Research. He is also an Honorary Associate Professor at UQ. Previously, he was Centre Manager of Queensland University of Technology´s Centre for Tropical Crops and Biocommodities managing the Centre´s expertise and technology in plant biotechnology and bioprocessing.</div>
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He formerly held a similar role as Deputy Director (Operations) at the Centre for Plant Conservation Genetics at SCU and was one of the three Platform Leaders for the Grain Foods CRC managing research in cereals and pulses.</div>
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Prior to that Slade worked as a molecular plant breeding expert with the International Atomic Energy Agency in Austria managing agricultural biotechnology projects for developing countries. Earlier, he was project leader of genetics research on Tea Tree and the projects on Table & Wine Grape Genetics, again at SCU. Beforehand he led the citrus breeding program and agronomic research of the Queensland Dept of Primary Industries.</div>
Slade, L H, QX526
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/417275Surname: SLADE. Given Name(s) or Initials: L H. Military Service Number or Last Known Location: QX526. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 4638.239969
Item: [2016.0049.49536] "Slade, L H, QX526
Hummerston, L S (Laurence Slade), WX10931
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/393895Surname: HUMMERSTON. Given Name(s) or Initials: L S (LAURENCE SLADE). Military Service Number or Last Known Location: WX10931. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 33217.216478
Item: [2016.0049.26188] "Hummerston, L S (Laurence Slade), WX10931
Slade, London, Asia: Contrapuntal Histories between Imperialism and Decolonization 1945–1989 (Part 1)
No full textThis feature takes the Slade School of Fine Art as the starting point for a global microhistory and reimagines ways of engaging with, co-constituting, and curating a research archive in pursuit of this endeavour. It consists of two parts: contributions in this issue of British Art Studies focus on the immediate post-war period, roughly 1945 to 1965, and a forthcoming second part will consider the 1960s to the 1990s. In this issue, the feature comprises a narrative history that interrogates the Slade’s role as a contrapuntal node, and a companion archival feature that brings together materials from multiple institutional and personal archives in Asia and the United Kingdom (UK). Building upon Edward Said’s use of the musical metaphor of contrapuntalism to address both the presence of empire in the metropolis and the construction of a transnational counterpoint with multiple voices, this project seeks to surface histories at the intersection of art education, imperialism, and decolonization. By using the Slade as a transversal line that connects multiple people and histories from Bangladesh, India, Pakistan, Hong Kong, Taiwan, Indonesia, Singapore, Nigeria, Sudan, Uganda, Britain and beyond, this essay proposes new ways of writing histories of contrapuntal—not multiple—modernisms, as well as understanding art in Britain itself as a product of empire
Stewart MacFarlane; Angela Valamanesh and Hossein Valamanesh
No full textChapters in : Heartland: contemporary art from South Australia, by Nici Cumpston, Lisa Slade et al.Nicholas Jos
Dr. Slade of Castile, New York
No full textVignette photographic portrait of Dr. Slade of Castle, New York, taken in the studio of George L. Washburn, Water Street, Castile, New York. Page 9 in photographic album of Carrie Hostlander Hosking.https://digitalcommons.chapman.edu/hoskings_family/1007/thumbnail.jp
Letter from Robert L. Bell, Mobile, Alabama, to Thomas B. Slade, Tuscaloosa, Alabama, November 14, 1867
No full textThis item is from the Robert Jemison, Jr. Papers. The collection spans the period from 1797 to 1960 and includes both the personal and business papers of Robert Jemison, Jr., along with papers of Robert Jemison (grandfather), William Jemison (father), Priscilla Jemison (wife), Cherokee Jemison Hargrove (daughter), and Andrew Coleman Hargrove (son-in-law), and Robert Jemison, Jr. (IV) of Birmingham (1878-1973). Included are the records of his grist and lumber mills, plantations, stage line, the Tuskaloosa Plank Road, toll bridges, ferries, postal contracts, and the North East and South West Railroad
Letter from Robert L. Bell, Mobile, Alabama, to Thomas B. Slade, Tuscaloosa, Alabama, October 24, 1867
No full textThis item is from the Robert Jemison, Jr. Papers. The collection spans the period from 1797 to 1960 and includes both the personal and business papers of Robert Jemison, Jr., along with papers of Robert Jemison (grandfather), William Jemison (father), Priscilla Jemison (wife), Cherokee Jemison Hargrove (daughter), and Andrew Coleman Hargrove (son-in-law), and Robert Jemison, Jr. (IV) of Birmingham (1878-1973). Included are the records of his grist and lumber mills, plantations, stage line, the Tuskaloosa Plank Road, toll bridges, ferries, postal contracts, and the North East and South West Railroad
Crossed wor(l)ds (unfloored) (brain drawing) (2019 itinerary) (after Brexit, Chagall, Billingham, Wes, Savage (commissioned art installation)
No full textAn unfinished and collapsed painting positioned next to the toilets and obstructing access to a storeroom displays a fragility and materiality that reflects the chaos of the world at the moment. This painting was surrounded by a broken suitcase, a pair of fire extinguishers and other miscellanea, reflecting the awkwardness and anxiety around Brexit. ’Crossed wor(l)ds (unfloored) (brain drawing) (2019 itinerary) (after Brexit, Chagall, Billingham, Wes, Savage (commissioned art installation)’ was a new installation commissioned for an international exhibition Monologue Dialogue 4: Mysticism and Insecurity (MD4) that opened at Koppel Gallery, London UK. The painting in the installation is now collected by Social, Genetic and Developmental Psychiatry Centre, London UK. MD4: Monologue Dialogue 4: Mysticism and Insecurity was a 16-person international group show held at The Koppel Project at Baker Street, London UK, 4 May – 1 July 2017. It was curated by Professor Andrew Stahl (UCL Slade School of Fine Art). The key focus of the project has been to celebrate transcultural conversations by bringing together artists mainly from Thailand and the UK but also from different parts of the world to install or construct work together, and develop existing contacts between UK and Thai universities and in some way to reflect on the transcultural nature of today’s discourse for artists. Kai was an invited artist and created a new installation. She was also co-curator of numerous public engagement events in the gallery. This included tours of the exhibition and discussions engaging the public, students and artists. including a discussion and tour. Kai also curated a live performance by artist James Steventon, and wrote an article celebrating transculturalism in a precarious age of protectionism and populism. ARTICLE: https://www.ucl.ac.uk/slade/monologue/monologue-final-2.pdf GALLERY + OVERVIEW: https://kaisyngtan.com/portfolio/md4/ KOPPEL PROJECT publicity: http://thekoppelproject.com/monologue-dialogue-4mysticism-insecurity/ABOUT MD4: https://www.ucl.ac.uk/slade/research/projects/monologue-dialogue-4 UCL GLOBAL ENGAGEMENT: https://blogs.ucl.ac.uk/events/2018/01/05/md4-mysticism-and-insecurity/ ABOUT ANDREW STAHL: https://www.ucl.ac.uk/slade/people/academic/profile/ASTAH06 PUBLICITY: https://www.ucl.ac.uk/slade/news/2017/04/monologue-dialogue4-koppel-project DISCUSSION publicity: http://kaisyngtan.com/wp-content/uploads/2017/06/MD4-talk-performance-chat-June10.pdf EXHIBITION:The 16 participating artist were mainly from Thailand and the UK, and also included from Singapore, Bangladesh, China and Japan.Eric Bainbridge, Rana Begum, Tintin Cooper, Yvonne Feng, Miranda Housden, Neil Jeffries, Sansern Milindasuta, Atsuko Nakamura, Nipan Oranniwesna, Be Takerng Pattanopas, Tuksina Pipitkul, Nathaniel Rackowe, Andrew Stahl, Kai Syng Tan, Jedsada Tangtrakulwong, and Panya Vijinthanasarn. The Monologue Dialogue series has grown from a British Council initiated and funded residency and exhibition in Bangkok, Thailand, in 2006. From then onwards a series of exhibitions have taken place in Bangkok and London with an evolving and expanding group of participating artists. The last exhibition was in 2014 at the BACC (the Bangkok Art and Cultural Centre). The key focus for the artists has been to install or construct work in a space/gallery together and in some way to reflect on the transcultural nature of today’s discourse for artists. DISCUSSION: On 15 June, there was also an informal evening co-run by Kai with Professor Stahl. There was a discussion (with Manick Govinda/Artsadmin, Loredana Paracciani, Asian art specialist, and Parinot Kunakornwong, London-based Thai artist) on ‘transcultural exchanges in an insecure world’, drinks and a live art intervention by guest artist James Steventon in collaboration with Kai. The performance is partly inspired by Martin Creed’s Work No. 850 (2004) and Claudia Kappenberg’s Slow Races (2014 De La Warr Pavillion). All photos (which are in random order) in this gallery are by Kai Syng Tan unless otherwise stated. SUPPORT: MD4 was supported by Royal Thai Embassy, UCL Global Engagement, Slade School of Fine Art and Leeds College of Art
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
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