Tuesday, December 13, 2011
Monday, November 07, 2011
I thought I would have a look on the net to check out the various opinions regarding Zotero v Endnotes. These postings at Ideophone and Speechless may be worth a look. I have to say both are very much pro Zotero.
An important difference between Zotero and Endnote Web is, Zotero allows you to annotate your citations with snapshots of web pages, notes, images, tags and related citations. Something you can not do in Endnote Web.
See my previous posts relating to Zotero, the original post and update.
Friday, October 07, 2011
Wednesday, June 29, 2011
Tuesday, June 28, 2011
dot-art was founded by Lucy Byrne in 2006, and is an art gallery and consultancy based in Liverpool city centre, specialising in affordable, high quality, locally sourced art, on a sale, commission and rental basis, as well as offering a range of complementary services including; art consultancy, exhibition planning and implementation, bespoke framing, art valuation and restoration and artist sourcing.
The project was heralded as a unique case study in the collection of digital art. Conceived to encourage debate from visitors, artists and sector professionals about the process of integrating digital artworks into existing permanent collections.
UK-based artists working in digital media and new media technology were invited to propose work for an exhibition at the Harris Museum & Art Gallery which took place 25 March - 4 June 2011 .
Work was selected for inclusion by an expert panel (including Mike Stubbs CEO of FACT , Ruth Catlow, Co-founder and co-director of Furtherfield.org and HTTP Gallery London , and Beryl Graham, Professor of New Media Art at the University of Sunderland and co-editor of CRUMB).
The objectives of the project were:-
- A public exhibition of new media artwork to be held at the Harris Museum & Art Gallery.
- An acquisition of one artwork for the museum's permanent collections.
- A public debate.
- Evaluation of the project to inform future collecting of new media at the museum
Southampton based artists Vicky Isley and Paul Smith make artworks inspired by the diversity that exists in nature. boredomresearch use computational technology to explore this diversity often using techniques similar to those used by scientists.
Michael is an artist, composer, writer & educator. His music has been performed all over the UK, in Russia & the USA. His short films have been shown throughout the world. He is composer & video artist for Tell Tale Hearts Theatre Company & a joint editor of the online video resource DVblog.
James is an artist who works with systems, autonomy and networks. His controversial recent work with surveillance systems, in installation projects such as (re)collector and Surveillance Suite, use computer vision software to extract demographic and behavioural information from live video footage.
Harwood, Wright, Yokokoji
These artists have collaborated together from 2004 to 2009, firstly as part of ‘Mongrel' - an internationally recognised artists collective. Previous projects involving the group include the first online commission from the Tate Gallery, London , a BAFTA award nomination and work in the permanent collections of the Pompidou Centre Paris and the Centre for Media Arts in Karlsruhe (ZKM).
Thomson & Craighead
Thomson and Craighead are fascinated how trends of globalisation and networked global communications have been re-shaping the way we all perceive and understand the world around us. They live and work in London and Kingussie in the highlands of Scotland making artworks for galleries, online and sometimes outdoors.
The piece selected to become part of the Harris permanent collection was the Thomson & Craighead's piece 'The distance travelled through our solar system this year and all the barrels of oil remaining ' (2011).
The work was selected by an expert panel, including Paul Hobson, Director, Contemporary Arts Society; Sarah Fisher, Chair of Axis and Chair of FACT ; Gavin Delahunty, Head of Exhibitions and Displays, Tate Liverpool; Taylor Nuttall, Chief Executive, folly; and Alex Walker, Head of Arts & Heritage Preston City Council.
The work consists of two wall based gallery projections that dynamically display the number of remaining oil barrels left in the world alongside the distance the earth has travelled this year. By juxtaposing something global (the statistic streams) against something local (a visit to a gallery and contemplation of an artwork), the piece allows a poetic connection to be made between the individual and the world at large.
Alex Walker, Head of Arts & Heritage, Preston City Council said;
“We are delighted to acquire this piece by Thomson & Craighead. The work is a completely new departure for the Harris Museum & Art Gallery. It's very much of the 21st century and could only be produced now. It makes use of live stream from the internet, and also deals with the big issues of the environment which are of concern to everyone. It may not initially have obvious connections with the Harris' collections, however, artists have always been concerned with helping us to understand and relate to the world we live in. Through the Current selection process we have acquired a piece which is both experimental and innovative.”
To complete the project a public debate was held at UCLAN on 24th May 2011 to analyse the experiment and share findings and best practice on collecting digital art.
As an artist engaged with New and Multi-Media practice I had great expectations for the exhibition but was rather under whelmed by my visit. The artists brief for the exhibition was a little ambiguous. The general preamble spoke in terms of 'New Media' yet the artists were asked to submit proposals of work such as digital art, interactive art, net art, electronic art, multi-and time-based media. Whilst the broad term 'New Media' has a wide ranging definition one thing the term does generally imply is interactivity with the medium. With one exception the works in this exhibition were most definitely not interactive.
Maybe my disappointment with this exhibition was exacerbated by my recent visit to the wonderful "New Media" exhibition "Recorders" at the Manchester Art Gallery a major exhibition by Mexican-Canadian electronic artist Rafael Lozano-Hemmer. This really was cutting edge interactive 'New Media' art.
I attended the debate at UCLAN on the 24th May. The debate did help to clarify some of my miss giving's about the exhibition. For starters, the selection of short listed exhibits can only be as good as the work submitted for selection. Having said that the highlight of the debate was the presentation by Alison Craighead 50% of the winning partnership, Thomson and Craighead. I wasn't familiar with the work of these London based visual artists. They have been working together with video, sound and the internet since 1993. Their work explores how technology changes the way we perceive the world around us. They use live data to make artworks, including template cinema online artworks and gallery installations, where networked movies are created in real time from online material such as remote-user security web cams, audio feeds, chat room text transcripts and social media output. The breadth and ingenuity of the work is impressive. In my opinion the work acquired by the Harris, whilst of the moment, given our preoccupation with dwindling natural resources, it is possibly one of their less inspiring pieces. It may have been more relevant to relate the consumption of oil with the rocketing price of say petrol! I am not sure the man on the Clapham omnibus has much concept of how far we travel through the Milky Way; he is aware of the cost of fuel!
Quoting from the Harris website, "the aim of the project was to raise the profile of this area of practice; to help digital artists to become integral to art's history; and for digital art to be seen as something to be collected in perpetuity, thereby reinforcing the public perception of it and its value". They also intended to address the challenges facing curators, in terms of integrating digital art into existing collections. One challenge being to display the work as it was originally intended. Another being the ability for digital media to reflect a continual state of evolution in its production and exhibition and in the case of the Thomson and Craighead installation the original data source.
The recently resurrected BBC Doomsday project highlights the problem of incorporating digital media into art collections. The rapid evolution of software, hardware, storage and presentation equipment in this sector presents numerous issues and potential problems. It was this aspect of the acquisition that engaged the speakers and audience alike, the reason why the public debate was such an important part of the project. All those concerned in the process confessed to a steep learning curve.
Monday, March 21, 2011
The Poulton ArtSpOt is available to suitable students as a curatable exhibition space and potential working location.
- To exhibit 2D work subject to the submission of a suitable proposal.
- In return for a minimum of 8 hours supervision of the location per week and 15% commission on any sales made as a result of the exhibition as a contribution to costs.
- Students would be required to have public liability insurance which could be acquired through membership of A-N.
- Supervision and guidance is available as required.
- The space would be available from beginning of April.
- Work displayed must be suitable for family viewing.
- Available for 4 week periods.
- Artist statement
- Description of work including size, number, media etc
- Photographs of examples of work.
- Will you be selling or not?
- Risk assessment
Wednesday, March 16, 2011
A requirement of the college I attend is we have to use Harvard style referencing but they want you to include the page number of the citation but the default option does not include page numbers.
They require the "in text" citation to look like this (Trigg, 2006, p.6) but the default in Zotero looks like this (Trigg, 2006).
There is a simple solution you can download from Zotero a vast number of citation styles that can be added to the default set that comes with the initial download.
Go to this page Zotero Styles and download the "Harvard - Adapted for Leeds Met" option, click the [install ] link. I could not fathom how it worked to start but the Zotero Forum proved very helpful. The new option comes up when you use the Word plug-in to add a citation. Make sure Word is closed when you download the new option. When you next use Word you will find at the bottom of the dialog box that opens when you choose to insert citation from the Zotero toolbar menu there will be a button at the bottom marked Page in the box next to it type the page number you want to add to the citation. Choose your citation in the normal way and Bingo the page number appears as above.
Click image to enlarge.
Monday, February 21, 2011
Monday, February 14, 2011
Occasionally you will download or be sent a secure PDF file that has the print option disabled. If there are no copyright restrictions the simple option is to use an on-line conversion option to create a printable file. One I have used, which works a treat, is Neevia free on-line PDF converter, available here. When the page opens in your browser use the default settings, browse to the file on your hard disc, choose the delivery method, either the file will be opened in your browser or sent by email. I generally choose the email delivery option. Your file can now be opened and printed.
Monday, February 07, 2011
This is a distinction that constantly confuses, me included. I found this answer at e.notes.com which strikes me as fairly succinct. Hope you don't mind me passing your words of wisdom on!
Answer: A metaphor is typically a phrase that is used as a comparison to seemingly unrelated objects or actions. A metaphor is a rhetorical trope that represents the first subject as being similar or equal to a second object or subject in any way.
An allegory is also a representation of comparisons but on a much deeper note. An allegory typically consist of a longer passage of comparisons than just a phrase; it also includes more details than a metaphor. An allegory is usually symbolically substituted for something else. A meaningful historical/geopolitical event or a wider abstract concept is usually the goal of an allegory. Metaphors are mainly used in language, whereas allegories can be used in language, painting, sculpting, etc.
EXAMPLES OF KNOWN METAPHORS: All the World's a stage, Killing him with Kindness, Frozen with fear, My stomach was a bottomless pit.
EXAMPLES OF KNOWN ALLEGORIES:
Example #1: In the novel, Lord of the Flies it provides a compelling allegory of human nature, illustrating the three sides of the psyche through its sharply-defined main characters.
Example # 2: A symbolic representation: The blindfolded figure with scales is an allegory of justice.
Monday, January 24, 2011
Through both my dissertation and fine art practice work continues to explore the aesthetic aspects of decay, memory/remembering, nostalgia and melancholia. I am interested in exploring the ugly as compared to the beautiful using decay as the metaphor. I am endeavouring to explain my enquiry through the visualisation of the concept of perception and how this relates to memory and the emotions of nostalgia and melancholia.
I am considering the manner in which the eye converts visual information into memory, how the brain perceives this information and how this information is subsequently retrieved to form part of our emotional and aesthetic experience. My enquiry considers the modern science of neuro-physiology, neuro-aesthetics in the response to art and the aesthetic experience. The work employs a combination of video and still images arranged in multiple layers to create visual complexity challenging the perception of the viewer to recognise the familiar within the unfamiliar.
The following video is one of the 3 video works I have on display. The other 2 have to be viewed in-situ as they employ partly silvered mirror as the front element of the work, this makes videoing the work difficult.
Fragments of Memory
This video makes use of appropriated stills from Bill Morrison's film "Light is calling" and part of Michael Gordon's sound track. Morrison's film is based on "found footage" of decaying film. I have reworked the film incorporating into it my own images, mainly nostalgic family photographs. The video explores the notion of fragmented memory and the often confused narration associated with the effects of Alzheimers disease.
This work is for academic purposes only and recognises the original authors copyright no breach of which is intended.