6,676 research outputs found
The roles of agency and artifacts in assembling open data complementarities
No full textStrong claims are made about the potential of opening government data to drive service innovation. Yet little is known about the detailed processes of how hackers create or reshape services out of new releases of public datasets, and the conditions for the move from data release to service innovation. We argue the utility of open data is accrued through the creation of new artifacts with enhanced performativity transformed by human and material agency. In a multimethod study of the open data hackers in the UK we identified a series of interlocking processes involved in the conversion of public data into services of public value. We found that few of the ‘rapid prototypes’ developed through hack day events are maintained or sustained as service innovations beyond those events. Five artifacts provided the value stack of complementarities: cleaned data available through APIs or bulk downloads, linkable data, shared source code and configuration, source code repositories, and web technologies. Our findings also suggest that only a few open datasets induce the process of change, and that initial contributions are driven by the use values but can only be sustained through an open innovative approach to induce further collaboration within a wider open data community
Frari
No full textFrari was a site-specific video installation created for the Venice Biennale 2011. It continued Davies’s work on how audio-visual technologies can articulate an embodied experience of place, as opposed to a representation of it. Embodied articulation seeks out the transformations and distortions that suggest an immersed, ‘subjective’ viewpoint, rather than a distant, ‘objective’ one.
Frari developed the process, used in Kilkenny Shift, of combining reanimated photographic stills and continuous, recorded sound to create a disjunction that can express a hidden location. Access to the usually publicly inaccessible interior of the Frari campanile in Venice was negotiated. Thousands of still photographs were taken by Davies as he walked up and down the ramps that run from the base to the top inside the campanile, left after its construction. Photographs were selected and edited together to make a video, which was combined with an audio recording of Davies ascending the ramps. The principal disjunction created in the work was between the distribution of light and dark in the stills, from architectural recesses and sunlight through windows, and the silence, breath and sudden sound on the soundtrack. The fact that some sounds and images meshed but that the majority did not helped to give a sense of the tussle between what is significant and insignificant – the things that may or may not become prominent – in one’s experience of an historical location.
Frari was exhibited at the Tim Davies Wales in Venice solo show, 54th Venice Biennale International Art Exhibition, 2011; and at the National Museum of Wales as part of Diffusion, Cardiff’s International Festival of Photography, 2013. It was featured in the following publications: Globus and Jones (eds), Tim Davies (Ridinghouse 2011), and the catalogue for the National Museum Diffusion exhibition, Cardiff 2013
Siobhan Davies Archive
No full textThe Siobhan Davies Archive project began in January 2007, with the aim of bringing together all of the materials and documentation associated with Davies' choreographies into a single collection. It is the first online dance archive in the UK and contains thousands of fully searchable digital records including moving image, still image, audio and text. Many of the objects within the archive collection have been sourced directly from Davies and her collaborators' personal collections, whilst other items have been kindly lent by institutions and private contributors. Almost all of these objects that would otherwise remain inaccessible and unavailable appear online for the first time, and in many cases represent the first time objects have been viewed by anyone since their original date of creation
Davies, Dave
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/317665Australian New Look supplement, 'Interview with Giuseppe Boffa' 4 November 1983, 'Lines' April 1981. Letter to Davies and Bernie Taft from unidentified author.281086
item: [2010.0053.01283] "Davies, Dave
Open data and charities
No full textOpen data involves a paradigm shift in the way organisations manage their information and data: moving from a default of charities keeping data resources locked up in underused internal systems, to building a shared ‘Web of Data’. The emergence of the open data movement has supported powerful new models of creativity, innovation and public engagement.Although most of the recent stories of progress and success in the open data field come from government and research where open data is more established, this report sets out to explain the ways in which open data is increasingly coming to play a role in the charitable sector. Existing open government data can be used by charities to add value to their work, to target services better, to improve advocacy and fundraising, and to support knowledge sharing and collaboration between different charities and agencies. Crowdsourcing of open data also offers a new way for charities to gather intelligence, and a wide range of freely available online tools can support charities to analyse open data resources. Realising the potential of open data will require charities to meet a number of technical and organisational challenges. Indeed many charities will need to address key issues relating to open data, whether they choose to pursue benefits from open data or not (as regulatory, funding and performance indication is published online by researchers, by government and by others in the sector).This report reviews open data as it relates to the charitable sector, drawing on long experience of developing open data in research and government, as well as early work exploring open data with charities and third-sector organisations. It defines open data, describes the background context of a knowledge economy, and outlines key opportunities and challenges of open data in the charity sector.On the basis of this overview and analysis of the field, the report sets out in more detail a number of options for the further development of open data practices in the charitable sector, via five recommendations derived from the analysis
The promises and perils of open government data
No full textThis editorial essay presents an overview of the contributions in the Special Issue. It also raises critical questions for further research and thinking about Open Government Data.<br/
Drift
No full textDrift was a video work commissioned for the Venice Biennale in 2011. The piece is a further articulation of Davies’s interest in how video technologies might be arranged to create an embodied, rather than representational, depiction of an environment. The video shows a hand positioned just above the surface of water, and movement along a water course is indicated by passing reflections. Occasionally the fingers skim and play with the water to disrupt its reflective surface. The owner of the hand is in a boat travelling along the canals of Venice but this is not shown. The video has been composed to create a disjunction between what is given, what is concealed, and what appears distorted, where disjunction is a key device used by Davies in his other REF submissions on embodied, technological expression. With the medieval and renaissance splendour of the city kept off frame, and hinted at only through the distorted reflections on the water’s surface, the viewer is put in the position of having to confront differences between what the hand might signify – are the fingers playing on the surface of water innocent pleasure or sinister amusement? – and a picture where representational detail is constantly swelling in and out of view.
Davies was the sole representative for Wales at the Venice Biennale in 2011.
Drift was also exhibited at Davies’s In and Amongst solo show, Fold Gallery, London, and at the National Museum as part of Cardiff’s International Festival of Photography, 2013. The work is featured in the following publications: Curiger and Carmine (eds), Illuminations exhibition catalogue (Fondazione La Biennale di Venezia, 2011), and Globus and Jones (eds), Tim Davies (Ridinghouse, 2011). Drift was purchased by the National Museum Wales in 2013
Glynis Davies’ Story of Phyllis
No full textCanadadeath of childimmigrantmental illnessoriginalWorld War II1920’sBritai
Miscellaneous and fugitive pieces. ... [electronic resource].
No full textEdited by Thomas Davies, and including works by Samuel Johnson."In 1773 he [Thomas Davies] audaciously published 'Miscellaneous and fugitive pieces' in two volumes, and advertised them as 'by the author of the Rambler.' Johnson's writings, which he had appropriated without authority, formed the bulk of this collection." - DNB.Vol.1, 2 are undated; vol.3 is dated 1774, and bears the imprint: "Printed for T. Davies; and Carnan and Newbery".Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
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