1,721,085 research outputs found
Peter & nou
Full text linkPeter & nou is an artwork, associated with the films 'Peter' (Topping, Jane, 2014) and 'nou' (Topping, Jane, 2018). Designed by Matthew Walkerdine and published by Good Press. It’s element heavy, with a sticker of a lab rat in a kaleidoscopic space/time travelling tunnel included for you, gratis. The work is comprised of the book 'Peter', the book 'nou', two postcards and an envelope – all in a beautiful box. The whole package echoes the dimensions of a DVD ‘box set’ and if you post off your envelope, you get yet another book sent straight back to you.
2 x books, 2 x postcards, 1 x sticker, 1 x return envelope, packaged in a card slip case.
'Peter': 135mm x 190mm, 120 pages, black and white digital printing throughout, perfect bound.
'Nou': 135mm x 190mm, 224 pages, full colour digital printing throughout, perfect bound
Review of They Are The We of Me by Jane Topping at Gallery of Modern Art, Glasgow
No full textReview by Sarah Smith of solo exhibition "They Are the We of Me" by Jane Topping.
Jane Topping’s solo show at Glasgow’s Gallery of Modern Art is permeated by an almost disquieting degree of self-reflexiveness, as her recollected impressions of the life and work of American novelist Carson McCullers (1917-1967) activate an investigation of the creative process. The exhibition is a three-room installation, better described as two rooms both separated and linked by a short corridor. Topping’s studio is represented by one room and McCullers’ by the other, their separation emphasising the solitary activity of much art making, while elements common to both spaces promote a sense of shared endeavour. Indeed emotional isolation coupled with a need to belong and the co-dependence of both feelings forms the crux of McCullers’ writing and is evinced in the show’s title, a line from her novel The Member of the Wedding
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
Black magic
No full textThe solo exhibition Black Magic was the result of a research project which interrogated the problematics associated with the female artist as author/performer. Largely influenced by Gilbert and Gubar’s The Madwoman in the Attic (1979), the exhibition set out to construct an identity for the female artist which foregrounded ‘an anxiety of authorship’
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
Who’s nou? How one story used television to summon a non-human fiction-self device for the author
Full text linkMy short film titled nou (18 minutes, 2018) is part of an art practice which uses established methodologies of appropriation, the cut-up and collage in order to speculate new worlds and new beings.
When I was a child, I was hypnotised by my dentist. Using a narrative involving rabbits being chased by a fox as an induction to hypnosis, my dentist gave me a filling, without anaesthetic. The event was filmed by the BBC and broadcast on television in the UK as part of the documentary Hypnosis and Healing (1982). Much of my art practice uses this piece of television footage as a tool of change and as an opportunity to discuss resonances and readings of existing cultural objects such as films, books and biographies.
A response to Naomi Mitchison’s feminist science fiction novel Memoirs of a Spacewoman (1962), nou is a tale of space travel, hypnosis and transformation in which the protagonist nou leaves her home planet, travels through a kaleidoscopic tunnel only to emerge in the tooth of a child who has been hypnotised by her dentist. The film performs the well-known science fiction trope of alien invasion, reframing it from a feminist perspective in order to foreground the fluid nature of identity.
In nou, the BBC archive footage of childhood hypnosis is the setting for a narrative that merges bodies and creates hybridization, rendering distinctions between the artist, the hypnotized child and the alien ‘nou’, fuzzy. In nou, the television archive changes the future by mutating the artist from a human to an alien/human hybrid while reclaiming her broadcast image. This presentation will discuss how this new hybrid being might be used as a device to drive future fictions in which she imagines her way out of the contemporary ideological framework from which she emerged
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe 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
Arise [installation]
No full textSolo work produced for the group exhibition, Rise, at The Galley, Carlisle. Arise consists of an oil painting on MDF and a group of 3 small sculptures created from a screen print made by the artist advertising a past exhibition (Vocal Sans, 2010). The work developed ideas interrogated in previous exhibitions (such as Black Magic, There’s Some on Her Palm…) relating to spell casting and its association with the creative process. Arise was the end-point of a body of work which used a magical interpretation of the creative process in the context of a ‘feminine anxiousness of creation’. In an attempt to circumvent this ‘anxiety of authorship’, the piece operates as an Ouroboros, an alchemic archetype of self-reflexivity and rebirth. The piece appears to be in a position of constant flux, creating and re-creating itself. In the context of the problem of feminine artistic creation, the piece offers a complete break between the author and the work, nullifying the responsibility of the artist’s authorial voice and so the anxiety implicit in the artist/author role. The painting was hung 30cm from the floor, connecting it directly with the sculptural elements which sat on the floor itself. The piece was designed as visual description of a conjuror’s action – the painted hands (based on a found photograph of a dancer in dramatic pose) appear to be arranging the 3D elements. The artist’s central role in the creative process is therefore removed. The hands of the conjuror appear to be literally in control of the artist’s past practice as they hover above the reconfigured promotional screen print
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