bluuebunny/crossref_metadata_2025_split huggingface dataset:
SPSL/A–Y (revised)
Authors: Lok Susan Pui San 
Published: November 2016

Abstract
97 Proofs – After Words – Altar Notes – Art Vapours – Awards – Chorus / Mobile Chorus – Citius, Altius – DIY Biennale/Ballroom/Live – Faster, Higher – FCHKUK – Five/Six Women – Golden (Ballroom/Hour/Lessons/Notes/Songs/Vistas/Years) – Lean To – Lightness – Making Ways – Mobile Ballroom – Mobile Chorus – Monumental Bargain – NEWS/REEL – RoCH Fan / RoCH Fans & Legends / Trailers / Trilogies – Witness
SPSL / A to Y (revised) offers a partial and a-chronological index of my practice across moving image, installation, performance and text over some twenty years – less a narrative of progression or arrival, than one of sometimes awkward returns. In relation to the notion of (In)Direct Speech, A – Y might also be seen as a series of momentary tactics that speak directly and indirectly to ideas and contradictions of ‘Chineseness’.
The body of the archive: Chineseness at the Venice Biennale (1993–2005)
Authors: Davidson Jane Chin 
Published: November 2016

Abstract
This article examines the function of the Venice Biennale as an ‘archive’ for documenting diasporic Chineseness: establishing a body of work by the Zhongguo ren gongtong ti ‘community of Chinese’ during the period of the 1990s to the mid-2000s when Chinese states were first included in the Biennale roster. The difference between cultural and national identity can be explored through the statist distinctions of the island-nation of Taiwan, the special administrative region of Hong Kong, and the People’s Republic of China represented at the exposition. The artists selected for the case studies of this article, Lee Ming-sheng, Lin Shu-min, Wu Mali, Stanley Wong, Ho Siu Kee, Zhang Huan and Cai Guo-qiang, have adopted the conceptual medium that showcases the body as the subject and/or object of the work of art – the medium contributes to the understanding of the human subject that Chineseness ultimately represents. The Biennale becomes a theoretical frame for contextualizing these representative works, contributing to a historiographic perspective for examining their inaugural moment. Ultimately, the exposition functions as an empirical stage for the analysis of the emergence of Chineseness in the global context for contemporary art.
Analysing works of Cai Guo-Qiang in relation to ancient Chinese concepts
Authors: Li Shiyan 
Published: November 2016

Abstract
In the 1990s, Cai Guo-Qiang uses one of the most famous Chinese inventions, gunpowder, to realize his Projects for Extraterrestrials, which claim to establish a dialogue with extraterrestrials. Behind his projects that seem to question the infinity of the sky lurks a scarred feeling that results from a historical wound that afflicted the Chinese people for two centuries. For Cai Guo-Qiang, a dialogue with the West is impossible because the two worlds are not on an equal level. In his work using gunpowder, we can notice a change from form to no-form. The moment of the explosion not only reminds us about a simple breath – the primordial breath Qi (元氣 yuanqi) – but also evokes Laozi’s famous thought: The Great Image Has No Form (大象無形 daxiang wuxing). It is through this emptiness, this simple Qi, that Cai Guo-Qiang brushes aside the asymmetric relationship between the West and the Far East. He succeeds in directing the impossible dialogue to a cosmic dimension that assures an equality in the emptiness (空 kong, 玄 xuan) of Dao. Since living and working in the United States, Cai Guo-Qiang has continued exploring this approach. Discovering the shape of the mushroom cloud allowed him to sketch the small clouds working in the register of flatness (淡 dan) that binds the polluted Qi (邪氣 xieqi) – mushroom cloud and the upright Qi (正氣 zhengqi) – the Basidiomycota mushroom. Since these disjunctions are at the same time conceived as being opposed and complementary, they become exchangeable. In the works that followed, the artist has similarly engaged with a set of reversals inspired by history, geography and world economy. By consequence, he manages to overcome the impossible dialogue with the West, when implying the use of flexibility and the resting on the strength of opposite to explore its dynamics (以柔克剛 yirou kegang). Thus, Cai Guo-Qiang’s artistic approach that fits into the international contemporary art scene indeed also follows an old trail of ancient Chinese concepts.
Between a rock and a tall pine: The ‘grotesque’ as an expression of irony and identity crisis in Chinese art
Authors: Bartlett Voon Pow 
Published: November 2016

Abstract
I would like to suggest that the genre of the ‘grotesque’ represents a recurrent strategy in the way Chinese artists deal with major changes in the political, social and economic arenas. This article will discuss resonances between the contemporary and the historic, as corresponding epochals of turbulent times, as social commentary, and as a critique of art. The use of the term ‘grotesque’ refers to such strategies employed by artists that have stepped out of the zone of established conventions and acceptability, through exaggeration, distortion and sometimes visceral shock, with irony as a salient quality, by challenging convention and the framework of the time. We will draw on the ‘Eccentrics’ of the Ming dynasty, who dealt with disillusionment using grotesque caricatures of traditionally idealized subjects. The main example is Chen Hongshou (1598–1652), and discussion will be supported by art criticisms of distinguished Chinese art historians James Cahill and Andrew Plak. For the contemporary period, we will discuss grotesque strategies based on modernist tactics by way of creative destruction, to circumvent, ameliorate and negotiate between the past and the present. The grotesque is once again predicated upon exaggerated and expressionistic styles as well as graphic and gratuitous depictions of violence. I will be discussing Qiu Zhijie’s Copying the Orchid Pavilion Preface a Thousand Times (1986–1997) and Cao Fei’s Haze and Fog (2013).
Stout’s doubt
Authors: Green Alison 
Published: November 2016

Abstract
This article looks at the American painter Myron Stout (1908–1987) in relation to arguments made in the early to mid-1960s around abstract art, as well as later historical re-evaluations of Minimalism. Using ‘doubt’ as explored by both Richard Shiff and Maurice Merleau-Ponty, I propose a re-reading of an artist who has been historically and aesthetically displaced. In the end I argue for a productive understanding of temporal resistances.
Intoxicating painting
Authors: Harris Mark 
Published: November 2016

Abstract
This article discusses a selection of abstract paintings in relation to their representation or inducement of states of intoxication. It questions the high esteem conferred on works created by intoxicated artists in comparison with the low regard in which works of Op and Psychedelic Art are held, a result it seems of the latter’s commitment to visual disorientation. Evaluation of the respective intellectual environments of New York and Paris in the 1960s reveals the ideological conditions underlying the dismissal of the paintings of European artists such as Victor Vasarely and Francois Morellet by their New York counterparts, despite the close similarities of some of their work. The judgements made by the New York milieu reveal a disinvestment in the utopian ideals and politicized avant-garde that European artists felt were sustained by the optical geometries of their paintings. It is argued that in North America similar visual vocabularies were commonly indexed to cycles of fashion in an economy driven by accelerated consumption. Evidence of new forms of intoxication in the visual languages of contemporary practices reveals the continuation of political initiatives such as Thomas Hirschhorn’s engagement of working-class communities in the liberatory theory of Georges Bataille or Donald Moffett’s representation of autonomous sites of gay ecstatic experiences. Throughout the article links are made between the imagery of painting and the intensely visual evidence of first-hand accounts of LSD experiences.
David Diao’s postcards from the edge of late modernism
Authors: Corris Michael 
Published: November 2016

Abstract
Since the 1980s, the painter David Diao has sought to occupy the position of a critical insider with respect to some of the modernist painting of the last century. Through the exploitation of strategies ordinarily associated with postmodernism – appropriation, pastiche and blank irony – Diao has managed successfully to develop a body of work whose aesthetic and narrative content differs markedly from that of his peers. Disavowing pronouncements on the irrevocable failure of modernism, Diao opts to place the resources of expression found in works by Kazimir Malevich to Barnett Newman at the disposal of a uniquely autobiographical project of cultural memory and retrieval.
Michel Parmentier: Painting for nothing
Authors: Warnock Molly 
Published: November 2016

Abstract
This article addresses the work and thought of the French painter Michel Parmentier, a figure whose attacks on painterly subjectivity and traditional modes of authorship are seen as among the most radical in post-war art. It draws upon recently discovered letters from Parmentier to his friend and fellow painter Simon Hantaï, whose signature method of pliage, or ‘folding’, Parmentier adapted to his own ends. Special attention is paid to the idea of painting ‘for nothing’, a notion that underpins Parmentier’s practice from his celebrated collaborations with Daniel Buren, Olivier Mosset and Niele Toroni in the crucial year 1967 through his works on paper of the later 1980s and 1990s.
Reviews
Authors: Ferguson Catherine , Creamer Anne-Marie , Feinson Nadine , Chilver John , Levy Matthew L. , Chorpening Kelly , Heywood Ian 
Published: November 2016

Abstract
‘Bernice Donszelmann: Descriptor’, Five Years Gallery, London, 6–14 June 2015
‘Emma Talbot: Step Inside Love’, Domo Baal Gallery, London, 24 April–6 June 2015
‘Painting in Time’, The Tetley, Leeds, 3 April–5 July 2015
‘Bridget Riley: The curve paintings 1961–2014’, De La Warr Pavilion, Bexhill-on-Sea, 13 June–6 September 2015
‘Jacqueline Humphries’, Carnegie Museum of Art, Pittsburgh, 11 June–5 October 2015
‘Yves Berger: For Other Eyes’, Art Space Gallery, London, 8 September–16 October 2015
‘Velázquez’, Grand Palais, Paris, 25 March–13 July 2015
Graphic facilitation, sketchnoting, journalism and ‘The Doodle Revolution’: New dimensions in comics scholarship
Authors: Mendonça Penelope 
Published: November 2016

Abstract
‘Live visual recording’ refers to the act of drawing a visual record in real time, combining words with imagery, in order to represent the content (and sometimes the visual characteristics) of an event, discussion or process. The most notable examples of this are sketchnoting and graphic facilitation. Graphic facilitation, which seeks to promote active participation, is mostly a professional field, and has been practised for decades within the corporate, independent and public sectors, whereas ‘sketchnoting’ is a relatively new term, describing an increasingly popular method, typically undertaken largely on an amateur basis. Context is crucial for understanding. While the outputs from different live visual recording practices can look similar visually, the environment in which they are produced, and the method used to create them, may differ significantly. For example, because there is a certain appeal that comes with watching people draw by hand, or with seeing a large, colourful, witty poster suddenly appear, it is tempting to think that a recording represents ‘quality’, when in fact its content may not reflect the key ideas discussed. Likewise an apparently ‘poorly drawn’ live visual record may in fact represent careful listening, and include highly sophisticated processing, art and design. Complexity and skill can be missed, or misunderstood: therefore, it is necessary to go beyond aesthetic or formal analysis, and consider the conditions under which work is produced and, if relevant, commissioned. This article will consider the benefits and disadvantages of sketchnoting, and contrast these with the more methodologically grounded field of graphic facilitation. It will refer to examples of both emanating from UK comics scholarship and public sector contexts, and conclude by offering thoughts regarding future opportunities and challenges. In so doing, the hope is to deepen our understanding of what is, in the academy, a relatively under-examined area. (Note: The author is a professional graphic facilitator, and some examples will refer to her work.) (This discussion will be of relevance to graphic facilitators, visual practitioners, sketchnoting enthusiasts, artists, cartoonists and comics scholars: however, it may also be of interest to other researchers and artists, and those who seek to employ creative, visual methodologies in order to successfully engage groups of people, communities, organizations and partnerships).
Sonny Liew interview
Authors: Smith Philip 
Published: November 2016

Abstract
Sonny Liew is a Singaporean comic book creator and painter. He is an important figure both in Singaporean comics and as a prominent representative of a minority group within the American comic book industry. He has worked with Disney, First Second, Marvel, and DC. His most famous works include the Eisnernominated Shadow Hero (2014) with Gene Luen Yang, Dr Fate (2015), Malinky Robot (2011), and, most recently, The Art of Charlie Chan Hock Chye (2016). The latter work, famously, had its funding publically withdrawn by the Singapore’s National Arts Council. Sonny has a distinctive artistic style. His works often engage with both Singaporean politics and the place for Asian creators and characters in American comics. I communicated with Sonny by e-mail in March 2016.
‘Powers of a squirrel, and also a girl’: Squirrel Girl and alternatives for women in superhero comic-books – an interview with Ryan North
Authors: Goodrum Michael 
Published: November 2016

Abstract
Ryan North is a Canadian author who writes a host of comics, most notably Dinosaur Comics (www.qwantz.com, 2003-present), Adventure Time (2012–2014, winner of both an Eisner and a Harvey Award), The Midas Flesh (2013) and The Unbeatable Squirrel Girl (R. North and E. Henderson, 2015). North is also the creator of To Be Or Not To Be (2013), a choose-your-own-adventure version of Hamlet funded through Kickstarter, published as a book and also as a computer game. North has recently followed this with Romeo And/Or Juliet (2016).
Sorcerers and supreme chiefs: René Lévesque and Pierre Elliott Trudeau in the Bojoual Le Huron Kébékois series
Authors: Kennedy Harriet 
Published: November 2016

Abstract
The 1970s in Quebec is often referred to as the Springtime of Québécois Bande Dessinée. Following the so-called Quiet Revolution of the 1960s, a period of intense social change and modernization, the decade saw Québécois creators and publishers seek to create a distinctly Québécois incarnation of the Bande Dessinée form. Groups of creators sprang up throughout the province and publishers sought Québécois creators to help them capture for themselves contemporary interest in imported titles. Bojoual le Huron Kébékois (1973) by J. Guilemay is a Québécois version of Astérix that attempts to use the form, style and content of Goscinny and Uderzo’s albums to make something that is at once familiar to a reader of comics but also distinctly Québécois in tone. Populated by characters inspired by contemporary political figures such as Jean Drapeau, hapless Mayor of Montreal, these albums give insights not only in the development of the BD form in Quebec but also the contemporary political situation. This article will address Guilemay’s depictions of René Lévesque, leader of the pro-independence Parti Québécois and Pierre Elliott Trudeau. It will also address why their appearance in this BD aimed at a young audience is so significant for the contemporary political situation. Following their victory in the 1976 provincial elections the Parti Québécois became a crucial voice of opposition within the province. A referendum on Quebec sovereignty became inevitable and so Trudeau and Lévesque were positioned in opposition to one another as assumed leaders of the Yes and No campaigns. This relationship was echoed in the comics produced before and during the referendum campaign and this paper will explore the significance of these comics and the depictions of Trudeau and Lévesque via a close reading of the three Bojoual albums and the political background to their production.
The changing pages of comics: Page layouts across eight decades of American superhero comics
Authors: Pederson Kaitlin , Cohn Neil 
Published: November 2016

Abstract
Page layouts are one of the most overt features of comics’ structure. We hypothesized that American superhero comics have changed in their page layout over eight decades, and investigated this using a corpus analysis of 40 comics from 1940 through 2014. On the whole, we found that comics pages decreased in their use of grid-type layouts over time, with an increase in various non-grid features. We interpret these findings as indicating that page layouts moved away from conventional grids and towards a ‘decorative’ treatment of the page as a whole canvas. Overall, our analysis shows the benefit of empirical methods for the study of the visual language of comics.
Eidolon: The technological body
Authors: Hood Beverley 
Published: November 2016

Abstract
This article presents my creative research to date at the Scottish Centre for Simulation & Clinical Human Factors (SCSCHF), Forth Valley Royal Hospital, Larbert, Scotland. The SCSCHF is a state-of the-art professional training facility, undertaking simulation-based medical education for medical students, nurses and professionals. It boasts a range of mid- and high-fidelity training manikins, embodied with physical responses, such as pulse, breath, tears and voice, accommodated within two multipurpose simulation suites representing clinical hospital locations. These suites create an extraordinary psychological fidelity for the trainees, resulting in a profound level of conviction and commitment by participants, to the simulated scenarios they experience. I have been investigating the emotive and psychological potential of SCSCHF’s manikins as a core construct for a live participatory performance in progress entitled Eidolon. Developed through collaboration between interdisciplinary partners, for the unique setting of the SCSCHF simulation suites, the Eidolon live performance intertwines manikins, medical professionals, simulation technicians, professional performers and audience. This article considers the technological body of the manikin within the Eidolon performance through an eclectic and broad lens including zombie culture, phenomenology, the uncanny and Activity Theory.
Co-evolution, neo-cybernetic emergence and phenomenologies of ambiguity: Towards a framework for understanding interactive arts experiences
Authors: Castellanos Carlos 
Published: November 2016

Abstract
This article provides an overview of research into how certain forms of interactive art, what I call the ‘emergent arts’, facilitate or amplify a construction of a reality that is active, dynamic, collaborative and co-evolutionary with our increasingly technologized environment. By examining these artworks and experiences via the interlocking frames of cybernetics, phenomenology and posthumanist thought, this research articulates the movement towards a framework that fuses theoretical and experiential modes of enquiry to provide insights relevant to both interactive artists and humanities scholars. I will discuss two primary components of this framework. The first is a taxonomical model that outlines a number of characteristics of new media and interactive arts practice that engage in processes that establish a foundation for the shifts in perceptual and embodied experience that I characterize as ‘symbiogenic’. The second major component is a sketching out of the conceptual basis of the symbiogenic framework, allowing us to go deeper into examining the dynamics of what I call co-evolution by outlining four theoretical concepts that I consider to be the cornerstone of what I call symbiogenic experiences in the emergent arts: ambiguity and unknowability, boundary, distributed intentionality and collectively emergent autonomy.
A personal encounter with the Universe
Authors: Aguilera Julieta 
Published: November 2016

Abstract
Engaging body gestures supports making sense of astronomical phenomena. We can hold a coin at arm’s length and look at its portrait to understand how small the Ultra Deep Field image is. We can zoom out from our solar system and galaxy at exponential speed, creating the illusion of shrinking space. Simulated left and right eye views are offset to enhance spatial depth; yet, in human scale, stereoscopy only works up to a few feet away. By adjusting scales we are sizing the Universe so that we can dance with galaxies. Tailoring space brings the Universe into our personal spaces.
Gamifying reality: How should history intersect with fantasy
Authors: Suvajdzic Marko 
Published: November 2016

Abstract
Video games provide a highly efficient mode of learning. As such considerable research has been performed in terms of their educational potential. However, most of the research to date has been focused on intentional learning. In other words the focus has been on the educational games that have been designed to be learning tools, whereas little to no attention has been paid to the games that are based on true events and are not intended as learning tools. Such games are indirect teachers. They provide historical content that is all too often taken for face value, while at the same time is not historically accurate. For many players, these games become the only source of knowledge on a particular topic. The events and characters experienced in the game are subconsciously yet directly accepted as truths. In this article, I intend to recreate parallel lines of reality between the historically correct interpretations and the media-told stories while at the same time posing the question of how do we know what really is historically correct?
Art as expanded thought of its infinitive potential
Authors: Jazbec Maša 
Published: November 2016

Abstract
Art that incorporates science is questioning our existence and by this means it is showing us a way forward. Art may as well have some meanings or messages, but what makes it art is not only its content but also its affects, the sensible force or style through which it produces the actual content, however much of it is mixed with other functions. The fact that we do produce styles and sensible affects in art discloses something about what our thinking can do – that our minds are not just machines intended for information or communication, but that we also possess the tools we produce desires and work with affectedness with.
Pulse Project: A sonic investigation across bodies, cultures and technologies
Authors: Lewis-King Michelle 
Published: November 2016

Abstract
This article introduces Pulse Project (2011–2016), a practice-led performance research study that explores an ecology of complex relations between art, humanities, medicine and technology. In this study, I embody transdisciplinary research practice itself through adopting the role of ‘acupuncturist-investigator’ and acting as an instrument or medium between myself and others and between cultural traditions for understanding and mediating the body and the embodiment of consciousness. Pulse ‘reading’, case histories, notations of pulses, i.e., readings of the ‘energetic’ body and algorithmic compositions are all used together as methods for exploring the cultural encounter between a creative producer, participants and diverse cultural/informational practices.