bluuebunny/crossref_metadata_2025_split huggingface dataset:
Notes on China: Sketchbook response to Beijing Residency 2014
Authors: Papasian Cheryl 
Published: January 2015

Abstract
The basis of this project and the sketchbook response to the Beijing residency was to summarize my findings on geologic formations that are created in Beijing’s parks and public spaces and how these can be used in the studio as reference materials in creating representational and abstract sculptures made of bronze, copper, aluminium and iron. Chinese ink paintings were used as a starting point for creating photographic dioramas in the studio, using the faux stone and rock techniques used in fabricated landscape gardens. Upon completion of the residency, a series of metal sculptures based on stones incorporating a sense of faux landscape features had been cast successfully.
Portraits of a Queen: The photography of Paul Bennett-Todd
Authors: Tobias-Green Karen 
Published: January 2015

Abstract
This historical series of photographs, produced by the photographer Paul Bennett-Todd, selects from the period 2002–03 thirty images taken at the ‘SpeedQueen’ night at the Warehouse Club in Leeds. Bennett-Todd has presented this snapshot of the venue at the apex of its vibrancy and popularity; clientele at their self-assured peak. An energetic and inclusive event, ‘SpeedQueen’ embodied in its walls an almost poetic celebration of sexuality, transgender, class, race and age. ‘SpeedQueen’ ran at the Warehouse from 1997 to 2006, capturing the culture and colours of the new millennium where people, environment and music combined. Like Wigan casino and Manchester’s Hacienda, SpeedQueen (appearing originally as ‘Vague at the Warehouse’ between 1993 and 1996 occupies an almost mythological place in queer subculture’s own folklore.
Framing forces: Models of cinema expressed by films that frame painting
Authors: Payne Simon 
Published: January 2015

Abstract
This article looks at ways in which a number of films have employed painting in order to substantiate the aesthetics of cinema that they envisage. The focus of the article specifically concerns the differences between centrifugal and centripetal forces at the edges of paintings and the limits of the film frame. Beginning with examples from narrative cinema, the article turns to look at crossovers between the aesthetics of painting and cinema in the context of experimental film, from early exponents of abstract cinema in the 1920s through to more recent examples.
The influence of cinema on painting
Authors: Manghani Sunil 
Published: January 2015

Abstract
The Journal of Contemporary Painting invited painters to reflect on how cinema influences their practice. Nine statements are collated here from the artists Mario Rossi, Lydia Dona, Denise Green, David Salle, Jeremy Sharma, Matt Saunders, Dan Hays, Olivier Gourvil and Kaye Donachie. Each offer their own reflections on how film, as both a medium and cultural phenomenon, can be situated with regards to their own practice as well as with respect to how we understand the medium of paint more broadly. The commentaries offer personal, even frank remarks attuned to the specificities of both mediums. The commentaries are introduced with an overview by Sunil Manghani, which includes an account of the film-maker Martin Scorsese remarking on the revered painter, Caravaggio, as a means to turn the lens around to look at how a film-maker regards painting.
A conversation between Donald Smith and Daniel Sturgis at Chelsea Space on the occasion of ‘Almost Bliss: Notes on Derek Jarman’s Blue’
Authors: Sturgis Daniel 
Published: January 2015

Abstract
The article is a conversation between the author Daniel Sturgis and Donald Smith on the occasion of an exhibition of work by Derek Jarman: ‘Almost Bliss: Notes on Derek Jarman’s Blue’ at Chelsea Space, London (29 January–15 March 2014). Smith curated the exhibition, which focused on Jarman’s notebooks for his seminal late film Blue (1993). The way the exhibition was displayed disrupted the architectural spaces of the gallery and immersed spectators into a charged environment. The conversation illuminates Jarman’s working processes, his influence from the work of Yves Klein and reflects on how the exhibition space and installation can speak around its subject.
Response to Stanley Cavell’s The World Viewed
Authors: Jenner Paul 
Published: January 2015

Abstract
Stanley Cavell’s The World Viewed: Reflections on the Ontology Film (1979 [1971]) is patient with the ways in which common sense is threatened by our experience of film. The book offers a perspective rather than an overview, foregrounding its own conditions – working mostly from the memory of films, for instance, and seeking to focus Cavell’s sense of a discontinuity in his moviegoing experience. Questions of cinematic ontology, held at an experiential level, join a broad philosophical-historical narrative concerning our lack of presentness to the world. Both of these strands develop preoccupations and discoveries found in Cavell’s reception of ordinary language philosophy. Disclosing the contours of the cinematic through juxtapositions with other media, in ways evoking both medium-specific and post-medium concerns, Cavell’s study of film further establishes the reach of his key term, ‘acknowledgment’.
Jackson Pollock and Piero della Francesca Ride Lonesome
Authors: Reed David 
Published: January 2015

Abstract
The article discusses the relationship between cinematic practice, space and painting and in particular Budd Boetticher’s film Ride Lonesome from 1959, Jackson Pollock’s paintings and Piero della Francesca’s The Story of the True Cross that was painted between 1447 and 1466. The CinemaScopic landscapes of Ride Lonesome are discussed as a touchstone to explore the western genre’s relationship to Pollock’s painterly spaces as well as the psychological integration of the characters into the film’s locations. The Story of the True Cross, like Ride Lonesome, uses objects to represent the hidden powers at work in the landscape.
Touch screen
Authors: Donszelmann Bernice 
Published: January 2015

Abstract
The article takes as its starting point the assertion that the question of surface is inseparable from the question of the human body in respect of painting. Surface in painting exists as the interface between a possible virtual, projected space and the painting’s material skin – which, at least in principle, is accessible to bodily touch. The understanding and meaning of this point of interface undergoes complications and shifting formulations over painting’s history, however. The engagement of the paintings of David Reed with the transformed meaning of the painted surface via the mediation of the screen in contemporary culture, in particular that of the cinematic image, forms the main object of analysis of the article which draws upon art historical analysis, film theory and phenomenology.
Writing touch in textile: Talking touch in tactility
Authors: Bonenfant Yvon 
Published: January 2015

Abstract
This article explores the ‘translation’ of live, extended voice performance, imbued with tactile intention, into an archival document that attempts to perform in a way that includes tactile communication. Through re-embodying somatic vocal performance within a format that includes hand-made textile art, the author traces the conversion of the live performance Soie soyeuse into an artist’s book. The resulting artwork takes a stab at talking about the live performance in a way that includes direct, tactile communication with the reader of the book. Placing this in a context of how else we might think about writing for, with, and about tactile performance, the article militates for a model of the articulation of performance as research that works directly on the haptic register of sensation, with all of the contradictions and difficult questions this might raise.
Topophilia and Topophobia: Charting site-based movement on the vertical
Authors: Sweeney Rachel 
Published: January 2015

Abstract
Reflecting on pre-existing models of site-based contemporary performance practice, this article will introduce dance ecologist Rachel Sweeney’s recent experiences participating in the Vertical Nature Base dance and rock-climbing collaborative project together with Steve Batts and Dan Shipsides in coastal northern Donegal. Here the author’s on-hand experiences of negotiating vertical and horizontal site-based movement strategies will challenge the notion of gravity as informing dance’s interrogation of site, illustrating how emergent responses to moving from the horizontal to the vertical might present their own critique of map-making, performance writing and ephemera, in moving between different kinesthetic states as defined by proximity to land. Underlying the writing here, the terms topophobia and topophilia point to the body’s own physiological response that can shift register considerably between these polarized sensations as the body seeks to re-establish its own parameters for movement both on and off the ground.
Notes, sounds, outsides and insides: Perspectives on pitch in acousmatic music
Authors: Young John 
Published: January 2015

Abstract
Acousmatic music has facilitated some of the most radical extensions of musical materials and methods available to the composer, moving beyond the traditional instrumental paradigm centred on melodic and harmonic forms derived from focal pitch that can be conveniently notated in the abstract form of a score. Two perspectives on the role and perception of pitch in acousmatic music are considered. First, in works of complex textural and spectral construction in which, as an inherently salient dimension of listening, perception of pitch can function as an important element of structural focus and definition. Second, it is viewed from a spectralist approach to sound materials, where components of the partial structure of a physical object’s sound can be made available as individual and timbrally related pitch identities but which retain an organic connection to a source sound. Analytical examples are drawn from widely available works from the acousmatic repertoire. Sound examples (in 44.1kHz 24 bit format) can be found at: https://www.dora.dmu.ac.uk/handle/2086/8946
‘Doing the Alexander’: On Christmas motifs in Bergman’s Fanny and Alexander
Authors: Steene Birgitta 
Published: January 2015

Abstract
This short subject examines Christmas motifs in Ingmar Bergman’s film Fanny and Alexander with particular emphasis on autobiographical, literary and ethnographic roots, and explores visual and psychological themes defining the contrasting lifestyles of the Ekdahl and Vergérus households: joie de vivre vs rigid moralism; sensuality vs asceticism; light vs darkness; magic vs stark realism; and theatrical performance vs church dogma.
Transnational Christmas in Mona J. Hoel’s ‘Dogme 95’ film Cabin Fever
Authors: Rees Ellen 
Published: January 2015

Abstract
This article examines how Mona J. Hoel activates Christmas and the cabin – two mainstays of Norwegian identity – in her 2000 ‘Dogme 95’ film Når nettene blir lange/Cabin Fever in order to comment upon the increasingly complex and transnational nature of contemporary society, where people move and marry freely across international borders. The author argues that the movie functions as an allegory in which a precariously transnational family event can be read as a stand-in for the small nation of Norway, struggling to maintain its self-image and identity in a period of increasing globalization. The progression of the action in the film follows a pattern similar to that of Thomas Vinterberg’s Festen/The Celebration (1998) – a film that has also been read as a contemporary national allegory – but the substitution of Christmas for a birthday party and a cabin for a hotel directs attention to and questions a specifically Norwegian cultural identity.
Death at Christmas: Christmas in Norwegian children’s films
Authors: Bjerkeland Ingvild 
Published: January 2015

Abstract
Traditionally there has been a general tendency of thematic seriousness and bitter endings in the Scandinavian children’s film. This orientation is influenced by prevailing cultural discourses in the Scandinavian countries on the qualities of children’s cultural products, and by the notion that children’s films ought to familiarize the audience with difficult, dangerous and frightening issues so that children can learn how to deal with their problems. As an analysis of three Norwegian children’s films demonstrates, Christmas films are no exception. Pitbullterje/‘Pitbull-Terje’ (Fröhlich, 2005), I et speil, i en gåte/Through a Glass, Darkly (Nielsen, 2008) and Bestevenner/Rafiki (Lo, 2009) do not portray Christmas as a magical time of year where acts of kindness, or even angels, can solve every problem. Instead, these films use the Christmas setting as a narrative strategy, and through the dichotomy between ‘the conventional Christmas’ and the dark, miserable Christmas experienced by the characters, the emotional impact of the film is enhanced. The young protagonists are not only facing difficult trials like bullying, angst, cancer and war, they are doing so at Christmas, which is supposed to be a time of joyful celebration.
Christmas satire on Swedish television: Christopher’s Christmas Mission
Authors: Jernudd Åsa 
Published: January 2015

Abstract
The short subject argues that the short animated film, Sagan om Karl-Bertil Jonssons julafton/Christopher’s Christmas Mission, which is screened annually on Swedish public service television to the delight of around a million spectators, offers sharp satire criticizing lingering class inequalities in the 1970s, despite decades of Social Democratic rule.
Danish TV Christmas calendars: Folklore, myth and cultural history
Authors: Agger Gunhild 
Published: January 2015

Abstract
This article aims at characterizing the Danish Christmas calendar as a TV institution and a meeting place for the traditions of the almanac, folklore and the history of culture. Against the background of a brief outline of the history of Danish Christmas calendars, the article explores ways in which this traditional genre has succeeded in renewing itself. The so-called Pyrus series, TV 2’s Christmas calendars during the mid-1990s, exhibited folklore, myth and cultural history in a combination of entertainment and information. They were succeeded by calendars such as Jul i Valhal/‘Christmas in Valhalla’ (2005), Absalons hemmelighed/‘The Secret of Absalon’ (2006), Mikkel og guldkortet/‘Mikkel and the Golden Card’ (2008) and Pagten/‘The Covenant’ (2009). Some of these added cultural criticism to the repertoire of the genre.
Discursive underground: Re-transcribing the history of art education using critical multicultural education
Authors: Acuff Joni Boyd 
Published: January 2015

Abstract
This article proposes the application of three primary tenets of critical multicultural education to assist art educators in re-conceptualizing myopic histories of art education currently dominating the field. Traditionally, voices of those from non-dominant groups have rested on the outskirts of most American art education historical narratives. Critical multicultural education provides an alternative framework as it examines the subjugation of certain non-dominant cultural knowledge and voices. Critical multicultural education re-directs investigations of power as it relates to culture construction and maintenance, knowledge creation and culture fluidity. The objective of this article is to challenge art educators to re-evaluate firmly established historical ‘truths’, and encourage them to recognize a broader audience of voices in order to articulate the cultural complexity of the history of art education.
Knowing our history: An examination of arguments over the terminal degrees of artists in the 1960s in America
Authors: Bowman Harrigan McMahon 
Published: January 2015

Abstract
Recent debate has arisen regarding the utility and value of a Ph.D. for the creative artist, where the M.F.A. most often serves as the terminal degree in the field. Yet many engaged in the debate surrounding this degree on the horizon are unaware of the historical discourses that both gave birth to the current-day terminal status in the United States as well as similarly questioned the purposes of the Ph.D. more than 50 years ago when a decision was upheld by the College Art Association in 1960 that the M.F.A. be the terminal degree for artists rather than the Ph.D.. In this article the author reviews the proceedings of three arguments set forth either for or against the Ph.D. at the 1959 Midwestern College Art Conference that informed the College Art Association’s decision, arguments made by Dr Manuel Barkan, Dr Louis Hoover and Dean Kenneth Hudson. Through an interpretive textual analysis, this article examines in-depth the language and logic of the ‘winning’ argument in favour of the M.F.A. as terminal. This debate in 1959 has yet to be critically examined by scholars, and includes conceptions of the artist that continue to be held to this day. The author here examines how arguments particularly by Dean Hudson, which represent the ‘winning’ stance that the M.F.A. be considered terminal, served to romanticize the artist while pitting him against the goals and practices of the academy, arguments that the author believes still linger today and that continually require committed critical examination by both sides of the debate. Such scholarship recognizes the indispensible role that knowing our own history plays in the descriptions, metaphors and images of the status quo that we ourselves construct about the artist in the university even today.
A. B. Jackson and the ‘black art’ paradigm
Authors: McGuire Kathryn Waggener 
Published: January 2015

Abstract
This brief biography introduces the life of American painter Alexander Brooks ‘A. B.’ Jackson (1925–1981) and seeks to better establish his place in the annals of American Art and Education history. A student of renowned colour field painter Josef Albers at Yale, and the first black professor at Old Dominion University in Virginia, Jackson represents a connection between the teaching methods of Germany’s Bauhaus design school and the politics and aesthetics of segregation in America during the 1960s and 1970s. Art by African American artists of Jackson’s generation is often examined either in terms of a radicalized political stance, or in the context of abstract expressionism – often linked to the self-described (or presumed) rhythm and attitudes of African American identity. Jackson’s work and professional identity did not adhere to the trends spurred by the nation’s heated racial tensions, and therefore defies current educational and aesthetic categorization. A deeper understanding of Jackson’s experience, methods as an artist, and greater body of work are sought through interviews, archival research, and an examination of why his presence amongst the greater perception of ‘black art’ is largely omitted from scholarly resources.
Christof Drexel (1886–1979): Maler X
Authors: Faye Allison 
Published: January 2015

Abstract
Although German Expressionism is understood as a heterogeneous art movement that includes diverse forms, scholarly attention is just beginning to turn towards its more distinctive outliers. A review of the life and art of Christof Drexel, whose work has yet to be fully explored, gives voice to vital pedagogical impulses influential to the generative artistic landscape of early modernism.
Good and Bad Times of Social Innovations: The Case of Universal Basic Income in Finland
Authors: Koistinen Pertti , Perkiö Johanna 
Published: January 2015

AbstractThis article draws on innovation and agenda-setting theories to identify critical points in the realization of basic income in Finland. Our empirical data comprise 13 models of either unconditional basic income or social security reform proposals with some similarity to basic income. The models examined were published in Finland between 1984 and 2011. Using these data, we build a conceptual framework that enables us to discuss the role of the content, players, political and macro-economic context, and public interpretations in the successes and failures of the basic income initiatives.
Volume of confidence ellipsoid: a technique for quantifying trunk sway during stance
Authors: Kutilek Patrik , Cakrt Ondrej , Socha Vladimir , Hana Karel 
Published: January 2015

AbstractThe position of the trunk can be negatively affected by many diseases. This work focuses on a noninvasive method of quantifying human postural stability and identifying defects in balance and coordination as a result of the nervous system pathology. We used a three-degree-of-freedom orientation tracker (Xsens MTx unit) placed on a patient’s trunk and measured three-dimensional (3-D) data (pitch, roll, and yaw) during quiet stance. The principal component analysis was used to analyze the data and to determine the volume of 3-D 95% confidence ellipsoid. Using this method, we were able to model the distribution of the measured 3-D data (pitch, roll, and yaw). Eight patients with degenerative cerebellar disease and eight healthy subjects in this study were measured during stance, with eyes open and eyes closed, and statistical analysis was performed. The results of the new method based on the 3-D confidence ellipsoid show that the volumes related to the patients are significantly larger than the volumes related to the healthy subjects. The concept of confidence ellipsoid volume, although known to the biomechanics community, has not been used before to study the postural balance problems. The method can also be used to study, for example, head and pelvis movements or alignments during stance.
The Empower project – a new way of assessing and monitoring test comparability and stability
Authors: De Grande Linde A.C. , Goossens Kenneth , Van Uytfanghe Katleen , Stöckl Dietmar , Thienpont Linda M. 
Published: January 2015

AbstractManufacturers and laboratories might benefit from using a modern integrated tool for quality management/assurance. The tool should not be confounded by commutability issues and focus on the intrinsic analytical quality and comparability of assays as performed in routine laboratories. In addition, it should enable monitoring of long-term stability of performance, with the possibility to quasi “real-time” remedial action. Therefore, we developed the “Empower” project.The project comprises four pillars: (i) master comparisons with panels of frozen single-donation samples, (ii) monitoring of patient percentiles and (iii) internal quality control data, and (iv) conceptual and statistical education about analytical quality. In the pillars described here (i and ii), state-of-the-art as well as biologically derived specifications are used.In the 2014 master comparisons survey, 125 laboratories forming 8 peer groups participated. It showed not only good intrinsic analytical quality of assays but also assay biases/non-comparability. Although laboratory performance was mostly satisfactory, sometimes huge between-laboratory differences were observed. In patient percentile monitoring, currently, 100 laboratories participate with 182 devices. Particularly, laboratories with a high daily throughput and low patient population variation show a stable moving median in time with good between-instrument concordance. Shifts/drifts due to lot changes are sometimes revealed. There is evidence that outpatient medians mirror the calibration set-points shown in the master comparisons.The Empower project gives manufacturers and laboratories a realistic view on assay quality/comparability as well as stability of performance and/or the reasons for increased variation. Therefore, it is a modern tool for quality management/assurance toward improved patient care.