196,197 research outputs found
'Border' and 'Tehran' 2006
No full text'Border' and 'Tehran 2006' are two related parts of a photographic project on Iran dealing with hardship and isolation on both sides of the border. 'Border' comprises twelve photographs (size 4'x6'). 'Tehran 2006' is one panoramic image (size 4'x10') which combines ten images. ‘Border’ focuses on untold stories of Iranians in exile. Using the codes of documentary, yet avoiding the usual generic approach,
‘Border’ combines fact and fiction. Reminiscent of movie posters, the work concentrates on the fantasy of return, using Beckett’s
notion of waiting in ‘Waiting for Godot’ as a metaphor for the bleak situation facing Iranians today.
Set against the cityscape of post–revolution Iran, ‘Tehran 2006’ focuses on the reality of the ordinary in extraordinary times. The
project eschews the usual representations of Iran such as social documentary, abstract photography, or exotica. Instead, it
echoes contemporary Iranian cinema, using non- actors and focusing on an apparently ‘small’ subject, treated allegorically to
allude to wider social issues.
Together, the projects deal with hardship and isolation on both sides of the border, challenging the fantasies Iranians have of
both East and West. Those living in Iran idealize life in the West; those living outside long for ‘home’. But both groups share the
will to survive - evident in the stories participants told Tabrizian - seeing survival as a strategy of resistance.
These are large-scale productions akin to film shoots, with high production values and meticulous research. Tabrizian is creative
author and director, assisted by Golding (lighting) and Nava (producer).
Both projects were funded by AHRC (Small Grants and Research Leave) and ACE (total £6000). ‘Tehran 2006’ was purchased
for Moderna Museet’s permanent collection, auctioned at Christies, Dubai (November 2007), and will show at Tate Modern
2008. Both projects were discussed at Tate Modern conference ‘Global Photography Now’ (Sept 2006). Images and related
essays were published in Portfolio No 44 (‘Border’ alongside Hamid Naficy essay); Next Level, No.2 Vol 5 (‘Tehran’ alongside
Tabrizian essay); New Formations, No. 62 (forthcoming
Beyond the limits: silent majority
No full textSolo show (Tabrizian retrospective) premiering two closely related photographic projects inspired by Baudrillard and focusing on corporate culture: the series Beyond the Limits (8 images of which 5 submitted to RAE 2008), and Silent Majority (1 large composite, combining seven images). Accompanied by publication of Tabrizian’s photographic book (Steidl, 2004). This project includes a body of six works: five images from Beyond The Limits (most combining 2-4 photos) and one large
composite image, Silent Majority (combining seven photos). These were first shown as a completed series at Museum of
Folkwang, Essen, (December 2003), accompanied by Tabrizian’s photographic book featuring essays by Stuart Hall, Homi
Bhabha (Steidl, 2004).
Inspired by Baudrillard and focusing on corporate culture, the project explores the crisis of contemporary culture through
reframing the genre of street photography within a critical perspective. It depicts Baudrillard’s world of simulation and fractal
culture, with people compelled into extremes of indifference and conformity. Set in a dystopic future, ‘Beyond the Limits’
constructs fragments of everyday lives in which something has gone ‘wrong’, referencing Baudrillard’s notion of implosion, the
point where things turn in upon themselves to produce their opposite effect. ‘Silent Majority’ portrays today’s Canary Wharf, the
corporate utopia where nobody can slow down or question where they’re heading.
Work on the ‘Beyond the Limits’ photographic project began in 2000: three images were finished and exhibited in the public
domain before 01.01.01 (see portfolio for the three images in Futures Vol 32, No 5, 2000). These images are excluded from this
submission. Selected images were published in numerous photography journals, including Next Level, no 5 (2004:108-112);
Tank (November 2001); also cited in books including ‘Different’ eds. Stuart Hall and Mark Sealy (Phaidon, 2001). Extensive
reviews include German and Spanish journals, newspapers, radio. The Essen show led to Tabrizian’s later invitation as keynote
speaker at ‘Digital Image Processing’ conference, Museum of Folkwang, (12.11.04). Two pieces were purchased by Museum of
Folkwang; another by Sparkasse collection, (Germany).
Partially sponsored by Metro Imaging (c£12,000 post production). Tabrizian collaborated with Andy Golding, who supervised
lighting
Self-polymerizing DOPA as a functional layer for the development of antimicrobial coating on PTFE barrier membranes for GTR procedures
No full textMussel-inspired antimicrobial coating on PTFE barrier membranes for guided tissue regeneration
No full textGuided tissue regeneration procedures to treat periodontitis lesions making use of polytetrafluoroethylene (PTFE) membranes exhibit large variability in their surgical outcomes, due to bacterial infection following implantation. This work reports on a facile method to obtain antimicrobial coatings for such PTFE membranes, by exploiting a mussel-inspired approach and in-situ formation of silver nanoparticles (AgNPs). PTFE films were initially coated with self-polymerized 3,4-dihydroxy-DL-phenylalanine (DOPA) (PTFE-DOPA), then incubated with AgNO3 solution. In the presence of catechol moieties, Ag+ ions reduced into Ag0, forming AgNPs of around 68 nm in the polyDOPA coating on PTFE membranes (PTFE-DOPA-Ag). The x-ray photoelectron spectroscopy, atomic force microscopy and scanning electron microscopy analyses indicated that the AgNPs were distributed quite homogeneously in the polymeric membrane. The antimicrobial ability of PTFE-DOPA-Ag membranes against Staphylococcus aureus and Escherichia coli was assessed. In vitro cell assay using NIH 3T3 fibroblasts showed that, although cells were adhered to PTFE-DOPA-Ag membranes, their viability and proliferation were limited demonstrating again the antibacterial activities of PTFE-DOPA-Ag membranes. This work provides proof-of-concept study of a new versatile approach for AgNPs coating, which may be easily applied to many other types of polymeric or metallic implants through exploiting the adhesive behavior of mussel-inspired coatings
Dr. Duane M. Jackson, Morehouse College, July 2011
No full textThis video is a conversation with Dr. Duane M. Jackson. Dr. Jackson talks about his paper, "Recall and the Serial Position Effect: The Role of Primacy and Recency on Accounting Students' Performance." Jackie Daniel, AUC Woodruff Library, is the interviewer
The predator
No full textDirector and co-writer of 28 minute film shot on S16mm with 35mm print, based on Tabrizian’s original idea. ‘The Predator’ combines popular and experimental visual vocabularies to explore the dilemma of an Islamic soldier doubting his
convictions. It poses the philosophical question: is it more difficult to die for an ideal, or to live without one?
‘The Predator’ considers the current political and media hype about Islamic fundamentalists, their suicidal missions and the
cultural construction of Islam as barbaric. It portrays an enigmatic character, a man with no expectations or ideals, serving an
idealist Islamic system. It is loosely based on the assassination of two Iranian writers in Hyde Park (1996).
The film creates a fictional Islamic country. The actual cast come from different Islamic countries: Iran, Iraq, Turkey, Lebanon
and Morocco. The intention here is to indicate how metaphorically, fundamentalism has created its own ‘state’, with English
paradoxically as the only common language. The use of English language is an ironic commentary on this reality and on the
notion of ‘authenticity’, challenging the widely accepted belief that a film or a nation cannot be ‘authentic’ unless they express
themselves in their original language.
Women are absent from the film; a device used as a metaphor for the position of women in Islamic fundamentalism. Yet it is a
woman’s photograph which keeps troubling the hit man, and it is a woman’s voice which disrupts the deadly silence at the
crucial moment in the story.
The film highlights a process of experimentation with still and moving image in the work of Tabrizian, drawing on recurring
themes of identities, nation, and transnationalism. It has generated interest across film and art /photographic circles, and its
screenings are ongoing in film festivals. AHRC Innovation Awards £51,000
The perfect crime
No full textPhotographic series exploring the normalization of violence in contemporary society. Comprises nine large photographs (4 ft x 6ft), two of which were composites combining two or three other images. This project includes a body of six works: five images from Beyond The Limits (most combining 2-4 photos) and one large
composite image, Silent Majority (combining seven photos). These were first shown as a completed series at Museum of
Folkwang, Essen, (December 2003), accompanied by Tabrizian’s photographic book featuring essays by Stuart Hall, Homi
Bhabha (Steidl, 2004).
Inspired by Baudrillard and focusing on corporate culture, the project explores the crisis of contemporary culture through
reframing the genre of street photography within a critical perspective. It depicts Baudrillard’s world of simulation and fractal
culture, with people compelled into extremes of indifference and conformity. Set in a dystopic future, ‘Beyond the Limits’
constructs fragments of everyday lives in which something has gone ‘wrong’, referencing Baudrillard’s notion of implosion, the
point where things turn in upon themselves to produce their opposite effect. ‘Silent Majority’ portrays today’s Canary Wharf, the
corporate utopia where nobody can slow down or question where they’re heading.
Work on the ‘Beyond the Limits’ photographic project began in 2000: three images were finished and exhibited in the public
domain before 01.01.01 (see portfolio for the three images in Futures Vol 32, No 5, 2000). These images are excluded from this
submission. Selected images were published in numerous photography journals, including Next Level, no 5 (2004:108-112);
Tank (November 2001); also cited in books including ‘Different’ eds. Stuart Hall and Mark Sealy (Phaidon, 2001). Extensive
reviews include German and Spanish journals, newspapers, radio. The Essen show led to Tabrizian’s later invitation as keynote
speaker at ‘Digital Image Processing’ conference, Museum of Folkwang, (12.11.04). Two pieces were purchased by Museum of
Folkwang; another by Sparkasse collection, (Germany).
Partially sponsored by Metro Imaging (c£12,000 post production). Tabrizian collaborated with Andy Golding, who supervised
lighting
"Reflections on the subject of Emigration from Europe with a view to Settlement in the United States" By M. Carey.
No full text"Reflections on the subject of Emigration from Europe with a view to Settlement in the United States: containing bried sketches of the moral and political character of those states.
By M. Carey, member of the American philosophical, and of the American Antiquarian Society, and author of The Olive Branch, Cindiciae Hibernicae, essays on banking, on political economy, and on internal improvement.
To which are now added the English editor's comments on the subject; together with Important Advice to Emigrants, and Cautions Against Impositions Practiced in the Outports
Dispelling the Myths Behind First-author Citation Counts
No full textWe 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
Dr. Glendon Swarthout
No full textHosted by Roger M. Busfield, MSU Assistant Professor of Speech and Theater, Meet the Author is designed to introduce a general audience to a contemporary author and their work through in-depth interviews. This episode features a conversation between Dr. Glendon Swarthout, prolific author and English professor at MSU, and assistant professors Sam S. Baskett and Theodore B. Strandness
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