1,721,097 research outputs found
Inka for Steven Cohen
No full textSteven Cohen JDPSN received inka in a ceremony at Providence Zen Center on April 6, 200
" Title Withheld. For legal and ethical reasons " de Steven Cohen
No full textPerceptions/Analyse de Title Withheld. For legal and ethical reasons ou Sans titre. Pour raisons légales et éthiques (2012) de Steven Cohen par Voula KOXARAKIS L’artiste Steven Cohen lors d’une représentation de son spectacle, “Sans titre. Pour raisons légales et éthiques” au Festival d’Avignon, le 10 juillet 2012. | AFP/GERARD JULIEN Le danseur, plasticien et performer Steven Cohen, «sud-africain, blanc, juif et homosexuel», met son corps au service d’un« art vivant » empruntant à la sculpt..
Corps transitoires, images errantes. Steven Cohen, the Wandering queer
Full text linkAdoptant un regard rétrospectif sur toute l’œuvre de l’artiste sud-africain Steven Cohen (1962 - …), cet article examine les différentes formes qu’y revêt la transition, comprise à la fois comme un concept spatial, chorégraphique genré et chronopolitique. À partir d’une analyse des traces de l’action-installation The Wandering Jew (2010), l’auteur interroge dans un premier temps ce que l’identification de Steven Cohen à la figure mythique du juif errant permet d’éclairer du rapport à la transition qui hante son travail et qui, excédant son rapport au judaïsme, semble mise au service de l’élaboration d’une politique queer originale. De l’intervention publique à la performance scénique, de l’image plastique ou filmique à la présence réelle, circulant entre différentes mémoires traumatiques (Apartheid et Shoah notamment), Steven Cohen ne cesse de faire du queer une quête de la dispersion et de la sortie de soi, dépassant le simple enjeu de parodie de genre.In a retrospective approach of the whole work of the visual and performance artist Steven Cohen (1962‑ …), this paper questions different forms of transition which appears in it and contribute to transform the artist into an original “wandering queer”. Firstly, based on a focus on the performance and installation The Wandering Jew (2010) through its traces, the author consider how the mythical figure of the wandering jew influence Cohen’s aesthetic and affect his relation to space, movement, gender and history, going far beyond a simple reference to Jewish culture. From public activism to perfoming arts, from visual or cinematographic to real presence, interweaving traumatic memories (Apartheid, Shoah), Steven Cohen defines a specific queer aesthetic, based on dispersion and ectasis rather than only gender subversion or parody
Constructing self : mimicry and multiplicity in the work of Frida Kahlo, Berni Searle, Steven Cohen, and Rory Klopper.
Full text linkMaster of Art in Fine Art. University of KwaZulu-Natal, Pietermaritzburg 2016.The purpose of this dissertation is to interrogate my perception of self which is grounded in my visual arts practice. Through my enquiry into the works of Steven Cohen, Berni Searle, and Frida Kahlo, I expose the corporeal body as an illusion of sociological enculturation.
Using concepts situated within sociological discourse, for example, I foreground the grotesque body as a body in the act of becoming, as theorised by Mikhail Bakhtin. I consider the multiplicities inherent in queer theories and interpret these multiplicities through my Fine Art practice. I use the concept of the cadaver exquisite as a vehicle to draw these theories into a visual realm; situated within fine art making.
I scrutinise processes, imagery and motivations that underlie the search for self. I present my findings through consideration of select works by Steven Cohen, Berni Searle, Frida Kahlo, and myself. I draw connections between the work of these artists and my own practice. Chief among the works I focus on are my series of self-portraits, namely, Smile Like You Mean It (2013), Crap Baby (Part III): The Intervention (2014), and I Tried To Make You See (2014); my paper cut-outs, namely The Dancer (2015) and a series of photographic work, namely, Jellyfish: series I (2015) and, Jellyfish: series II (2016), as well as the following assemblages: Fat Man (2015), Phantom of the Opera (2015), Jellyfish (2015), Mantis (2015), and Cake (2014 / 2015). I draw attention in my analysis of my own practice to the role played in the development of these works by examining the performance art of Steven Cohen, namely, Chandelier (2001 – 2002), the installation work of Berni Searle, namely, Snow White (2001), and the self-portraits of Frida Kahlo, namely, Self-portrait with Necklace of Thorn (1940)
Intimate Interactions. Intersektionale Dynamiken als künstlerische Strategie in den Performances von Steven Cohen und IngridMwangiRobertHutter
Full text linkIntersectional approaches in recent feminist theory seek to analyse specific problems of discrimination on the basis of relations between individuals and societal structures. In their performances Steven Cohen and IngridMwangiRobertHutter experiment artistically with possibilities of transgressive identification that are set into arranged interactions with varying audiences. Therefore, their work not only negotiates intersectionality in terms of oppressive structures but also and most notably describes relational and polyphonic dynamics that generate agency and identity within societal frameworks. The essay explores how the artists deal with categories like ethnicity, class, gender and sexuality. Moreover, it examines how norms are subverted or rather alternatively configured through specific situational contexts. Through making visible the interplay between individual modes of expression the artists offer and respective reactions in public space Cohen and MwangiHutter thematise exactly the characterization of the subject as incomplete and negotiable that permanently challenges an intersectional research perspective.Die intersektionalen Ansätze in der neueren feministischen Theorie nehmen vor allem die Analyse spezifischer Probleme von Diskriminierung in den Blick, die das Beziehungsgeflecht zwischen Individuum und gesellschaftlichen Strukturen befragen. In ihren Performances experimentieren Steven Cohen und IngridMwangiRobertHutter mit transgressiven Identifikationsmöglichkeiten, die sich in künstlerisch arrangierten Interaktionen mit unterschiedlichem Publikum abspielen. Ihre Arbeiten verhandeln Intersektionalität also nicht nur im Bezug auf diskriminierende Strukturen, sondern beschreiben auch und vornehmlich die relationalen und multiperspektivischen Dynamiken, die Handlungsoptionen und Identität in soziokulturellen Bezugssystemen generieren. Im vorliegenden Essay wird untersucht, wie die Künstler bzw. Künstlerinnen mit Kategorien von Ethnizität, Klasse, Gender und Sexualität umgehen und wie schließlich die ihnen inhärenten Normen unterlaufen bzw. mehr noch durch bestimmte situative Kontexte alternativ konfiguriert werden. Durch das Sichtbarmachen der Wechselwirkungen zwischen individuellen Ausdrucksformen, die die Künstler bzw. Künstlerinnen anbieten, und entsprechenden Reaktionen im öffentlichen Raum wird genau jene Unvollständigkeit jeder Subjektbeschreibung thematisiert, die in der intersektionalen Forschung den Stoff für Kritik an und die permanente Erweiterung der Forschungsperspektive liefert.
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
Willful Blindness, Plausible Deniability, and Tippee Liability: SAC, Steven Cohen, and the Court\u27s Opinion in Dirks
No full textIs the principal of a securities trading firm able to remain ignorant about the source of information used in trading on the principal\u27s behalf and avoid liability for insider trading under U.S. law? This short essay explores that question using the SAC Capital Advisors, L.P. and Steven Cohen as an example case, reflecting on the law established by the Supreme Court in its opinion in Dirks v. SEC in light of both the Second Circuit opinion in SEC v. Obus and changes, occasioned by Regulation FD, in the nature of securities analysts’ work and the overall information entrepreneurialism of market intermediaries. Ultimately, issues identified in this context afford us the opportunity to take another look at U.S. insider trading law as a matter of policy
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
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