cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.17870/bathspa.12357728
title: Sanded Steps, Standing Over Stones - 300-Word Statement

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br>This item contains a 300-word statement outlining the research project.
DOI: 10.17870/bathspa.12357728.v1
title: Sanded Steps, Standing Over Stones - 300-Word Statement

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br>This item contains a 300-word statement outlining the research project.
DOI: 10.17870/bathspa.12357986.v1
title: Sanded Steps, Standing Over Stones - Research Timeline & Research Questions

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br>This item contains a timeline of the research project and a set of research questions.
DOI: 10.17870/bathspa.12357986
title: Sanded Steps, Standing Over Stones - Research Timeline & Research Questions

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br>This item contains a timeline of the research project and a set of research questions.
DOI: 10.17870/bathspa.12287474
title: Sanded Steps, Standing Over Stones - Embodied Cartographies - Bath, 2017

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br><br>This item contains photographic documentation of the first iteration of the art work, performed at the <i>Embodied Cartographies Symposium</i><i> </i>in Bath in 2017. <br><b>Photographs courtesy of Ryan Wynn. Used with permission.</b><b><br></b><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.12287474.v1
title: Sanded Steps, Standing Over Stones - Embodied Cartographies - Bath, 2017

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br><br>This item contains photographic documentation of the first iteration of the art work, performed at the <i>Embodied Cartographies Symposium</i><i> </i>in Bath in 2017. <br><b>Photographs courtesy of Ryan Wynn. Used with permission.</b><b><br></b><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.12362045
title: Sanded Steps, Standing Over Stones - Resting, Walking, Place-Making - Montreal, 2018

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br>This item contains photographic documentation and video footage of the second iteration of the art work, performed at <i>Resting, Walking, Place-Making: How Do We Talk About Invisible, Liminal Spaces in Art? </i>in Montreal in 2018. It also includes a copy of the texts read by audience members as part of the performance.<br><b>Photographs and films courtesy of Rojin Shafiei. Used with permission.<br><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.12362045.v1
title: Sanded Steps, Standing Over Stones - Resting, Walking, Place-Making - Montreal, 2018

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br>This item contains photographic documentation and video footage of the second iteration of the art work, performed at <i>Resting, Walking, Place-Making: How Do We Talk About Invisible, Liminal Spaces in Art? </i>in Montreal in 2018. It also includes a copy of the texts read by audience members as part of the performance.<br><b>Photographs and films courtesy of Rojin Shafiei. Used with permission.<br><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.12362054
title: Sanded Steps, Standing Over Stones - The Multiplicity of (Un-)Thought - Journal Article (Contextualising Information)

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br><br>This item contains the Accepted Manuscript of an article by Luzar published by Taylor & Francis Group in <i>Comparative and Continental Philosophy</i> on 17/10/19 available online here or below under 'References'.<br><b>Luzar, R. (2019) 'The multiplicity of (un-)thought: Badiou, Deleuze, event', <i>Comparative and Continental Philosophy</i>, 11:3, 251-264, DOI: 10.1080/17570638.2019.1679980.</b><br><b><br></b><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law. </b><br><br>
DOI: 10.17870/bathspa.12362054.v1
title: Sanded Steps, Standing Over Stones - The Multiplicity of (Un-)Thought - Journal Article (Contextualising Information)

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br><br>This item contains the Accepted Manuscript of an article by Luzar published by Taylor & Francis Group in <i>Comparative and Continental Philosophy</i> on 17/10/19 available online here or below under 'References'.<br><b>Luzar, R. (2019) 'The multiplicity of (un-)thought: Badiou, Deleuze, event', <i>Comparative and Continental Philosophy</i>, 11:3, 251-264, DOI: 10.1080/17570638.2019.1679980.</b><br><b><br></b><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law. </b><br><br>
DOI: 10.17870/bathspa.14212382
title: Sanded Steps, Standing Over Stones - Contextualising Information

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br>This item contains information which contextualises the central outputs:1. <b>Proposal</b> for performance at <i><b>Embodied Cartographies Symposium</b> </i>(Bath, 2017).2. <b>Event programme</b> for <i><b>Embodied Cartographies Symposium</b> </i>(Bath, 2017).3. <b>Event poster </b>for<b> </b><i><b>Resting, Walking, Place-Making: How Do We Talk About Invisible, Liminal Spaces in Art?</b> </i>(Montreal, 2018). Courtesy of Victoria Stanton. Used with permission.4. <b>Programme</b> for<b> </b><i><b>Resting, Walking, Place-Making: How Do We Talk About Invisible, Liminal Spaces in Art?</b> </i>(Montreal, 2018). Courtesy of Victoria Stanton. Used with permission.5. A <b>bibliography of works consulted</b> for the <i>Sanded Steps, Standing Over Stones</i> research project. <br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law. </b><br><br>
DOI: 10.17870/bathspa.14212382.v1
title: Sanded Steps, Standing Over Stones - Contextualising Information

description: <i>Sanded Steps, Standing Over Stones</i> is a live art work that rethinks ‘trace’ and ‘event’ in historical––and ongoing aporetic––situations that become self-effacing and unhappening. It uses self-effacing gestures such as the sweeping of sand, and audience participation in enunciating found-words from texts and slogans, to trace cultural revolutions and social demonstrations from May ’68 to Occupy––and asks whether such events insist or desist in happening today.<br>This item contains information which contextualises the central outputs:1. <b>Proposal</b> for performance at <i><b>Embodied Cartographies Symposium</b> </i>(Bath, 2017).2. <b>Event programme</b> for <i><b>Embodied Cartographies Symposium</b> </i>(Bath, 2017).3. <b>Event poster </b>for<b> </b><i><b>Resting, Walking, Place-Making: How Do We Talk About Invisible, Liminal Spaces in Art?</b> </i>(Montreal, 2018). Courtesy of Victoria Stanton. Used with permission.4. <b>Programme</b> for<b> </b><i><b>Resting, Walking, Place-Making: How Do We Talk About Invisible, Liminal Spaces in Art?</b> </i>(Montreal, 2018). Courtesy of Victoria Stanton. Used with permission.5. A <b>bibliography of works consulted</b> for the <i>Sanded Steps, Standing Over Stones</i> research project. <br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law. </b><br><br>
DOI: 10.17870/bathspa.14152556
title: Pretty Abstract - 300 word statement

description: <i>Pretty Abstract</i> is a body of work produced by a new method of monoprinting at scale, developed by Minott, ensuring precise registration of multiple coloured shapes. This safe and affordable alternative to traditional approaches opens up potential to printmaking at all levels. <br>This item contains the 300 word statement.
DOI: 10.17870/bathspa.14152556.v1
title: Pretty Abstract - 300 word statement

description: <i>Pretty Abstract</i> is a body of work produced by a new method of monoprinting at scale, developed by Minott, ensuring precise registration of multiple coloured shapes. This safe and affordable alternative to traditional approaches opens up potential to printmaking at all levels. <br>This item contains the 300 word statement.
DOI: 10.17870/bathspa.14152574
title: Pretty Abstract - Research Timeline & Research Question

description: <i>Pretty Abstract</i> is a body of work produced by a new method of monoprinting at scale, developed by Minott, ensuring precise registration of multiple coloured shapes. This safe and affordable alternative to traditional approaches opens up potential to printmaking at all levels. <br>This item contains the Research Timeline and Research Question for the project.
DOI: 10.17870/bathspa.14152574.v1
title: Pretty Abstract - Research Timeline & Research Question

description: <i>Pretty Abstract</i> is a body of work produced by a new method of monoprinting at scale, developed by Minott, ensuring precise registration of multiple coloured shapes. This safe and affordable alternative to traditional approaches opens up potential to printmaking at all levels. <br>This item contains the Research Timeline and Research Question for the project.
DOI: 10.17870/bathspa.14152661.v1
title: Pretty Abstract - Development of Methodology

description: <i>Pretty Abstract</i> is a body of work produced by a new method of monoprinting at scale, developed by Minott, ensuring precise registration of multiple coloured shapes. This safe and affordable alternative to traditional approaches opens up potential to printmaking at all levels. <br>This item contains documentation of the processes involved in developing Minott’s new method of mono printing. <br><b>Photos courtesy of Paul Minott. Used with permission. </b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.14152661
title: Pretty Abstract - Development of Methodology

description: <i>Pretty Abstract</i> is a body of work produced by a new method of monoprinting at scale, developed by Minott, ensuring precise registration of multiple coloured shapes. This safe and affordable alternative to traditional approaches opens up potential to printmaking at all levels. <br>This item contains documentation of the processes involved in developing Minott’s new method of mono printing. <br><b>Photos courtesy of Paul Minott. Used with permission. </b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.13333307.v1
title: Pretty Abstract - Dissemination: Black Swan Gallery

description: <i>Pretty Abstract</i> uses digital methods to provide improved registration in multiple colour monoprinting using a traditional etching press.<br><b>Dissemination: Black Swan Gallery</b>The work was exhibited at the Black Swan Gallery, Frome, 10 September – 8 October 2016. The same visual language was used as a key motif for the exhibition’s promotion. <br><b>Photos courtesy of Paul Minott. Used with permission.<br></b><b><br></b><b>Flyer courtesy of Black Swan Gallery.</b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.13333307
title: Pretty Abstract - Dissemination: Black Swan Gallery

description: <i>Pretty Abstract</i> uses digital methods to provide improved registration in multiple colour monoprinting using a traditional etching press.<br><b>Dissemination: Black Swan Gallery</b>The work was exhibited at the Black Swan Gallery, Frome, 10 September – 8 October 2016. The same visual language was used as a key motif for the exhibition’s promotion. <br><b>Photos courtesy of Paul Minott. Used with permission.<br></b><b><br></b><b>Flyer courtesy of Black Swan Gallery.</b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.13333328.v1
title: Pretty Abstract - Dissemination: Xi'an International Printmaking Conference

description: <i>Pretty Abstract</i> uses digital methods to provide improved registration in multiple colour monoprinting using a traditional etching press.<br><b>Dissemination: Xi'an International Printmaking Conference </b>The exhibition at the Black Swan led to an invitation to participate in an exhibition and workshop as part of the Xi'an International Printmaking Conference in October 2017. This enabled the system to be explored further using a new ‘vocabulary’ of shapes created in response to a different graphic culture. The conference also included giving a talk and running an artist’s workshop.<br><b>Photos courtesy of Paul Minott. Used with permission.<br></b><b><br></b><b>Flyer included courtesy of Xi'an International Printmaking Conference.</b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br><br>
DOI: 10.17870/bathspa.13333328
title: Pretty Abstract - Dissemination: Xi'an International Printmaking Conference

description: <i>Pretty Abstract</i> uses digital methods to provide improved registration in multiple colour monoprinting using a traditional etching press.<br><b>Dissemination: Xi'an International Printmaking Conference </b>The exhibition at the Black Swan led to an invitation to participate in an exhibition and workshop as part of the Xi'an International Printmaking Conference in October 2017. This enabled the system to be explored further using a new ‘vocabulary’ of shapes created in response to a different graphic culture. The conference also included giving a talk and running an artist’s workshop.<br><b>Photos courtesy of Paul Minott. Used with permission.<br></b><b><br></b><b>Flyer included courtesy of Xi'an International Printmaking Conference.</b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br><br>
DOI: 10.17870/bathspa.13333349
title: Pretty Abstract - Ongoing explorations 2016-2019

description: <i>Pretty Abstract</i> uses digital methods to provide improved registration in multiple colour monoprinting using a traditional etching press.<br><b>Ongoing explorations 2016-19</b>The work is ongoing and since 2016, over 100 unique prints have been made using the process described. Many have featured in the Affordable Art Fairs of Bristol and London, and are held in private collections worldwide. <br>Minott’s research has developed an entirely new, economical approach to physical print making at scale, prohibited by laptops and small screens. Its potential for the education sector and graphic designers at all levels is currently being explored. <br><br><b>Images courtesy of Paul Minott. Used with permission.</b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br><br>
DOI: 10.17870/bathspa.13333349.v1
title: Pretty Abstract - Ongoing explorations 2016-2019

description: <i>Pretty Abstract</i> uses digital methods to provide improved registration in multiple colour monoprinting using a traditional etching press.<br><b>Ongoing explorations 2016-19</b>The work is ongoing and since 2016, over 100 unique prints have been made using the process described. Many have featured in the Affordable Art Fairs of Bristol and London, and are held in private collections worldwide. <br>Minott’s research has developed an entirely new, economical approach to physical print making at scale, prohibited by laptops and small screens. Its potential for the education sector and graphic designers at all levels is currently being explored. <br><br><b>Images courtesy of Paul Minott. Used with permission.</b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br><br>
DOI: 10.21227/wneq-9n65
title: Forecast for January 30

description: Forecast for January 30
DOI: 10.5281/zenodo.4642401
title: Accession IDs included in publication Tracking the international spread of SARS-CoV-2 lineages B.1.1.7 and B.1.351/501Y-V2

description: Accession IDs from GISAID included in publication Tracking the international spread of SARS-CoV-2 lineages B.1.1.7 and B.1.351/501Y-V2.
DOI: 10.5281/zenodo.4642400
title: Accession IDs included in publication Tracking the international spread of SARS-CoV-2 lineages B.1.1.7 and B.1.351/501Y-V2

description: Accession IDs from GISAID included in publication Tracking the international spread of SARS-CoV-2 lineages B.1.1.7 and B.1.351/501Y-V2.
DOI: 10.17870/bathspa.14038859
title: Red Work & Wit of the Stitch - 300 word statement

description: This collection brings together an extensive body of new textile works created for two exhibitions, <i>Red Work</i> in 2014 and <i>Wit of The Stitch</i> in 2016. Combining 19th century redwork techniques with digital printing, drawing and collaged ephemera, Howard explores new ways of communicating contemporary narratives.<br>This item contains the 300 word statement.
DOI: 10.17870/bathspa.14038859.v1
title: Red Work & Wit of the Stitch - 300 word statement

description: This collection brings together an extensive body of new textile works created for two exhibitions, <i>Red Work</i> in 2014 and <i>Wit of The Stitch</i> in 2016. Combining 19th century redwork techniques with digital printing, drawing and collaged ephemera, Howard explores new ways of communicating contemporary narratives.<br>This item contains the 300 word statement.
DOI: 10.17870/bathspa.14038895
title: Red Work & Wit of the Stitch - Research Timeline and Research Questions

description: This collection brings together an extensive body of new textile works created for two exhibitions, <i>Red Work</i> in 2014 and <i>Wit of The Stitch</i> in 2016. Combining 19th century redwork techniques with digital printing, drawing and collaged ephemera, Howard explores new ways of communicating contemporary narratives. <br>This item contains the Research Timeline and Research Questions.
DOI: 10.17870/bathspa.14038895.v1
title: Red Work & Wit of the Stitch - Research Timeline and Research Questions

description: This collection brings together an extensive body of new textile works created for two exhibitions, <i>Red Work</i> in 2014 and <i>Wit of The Stitch</i> in 2016. Combining 19th century redwork techniques with digital printing, drawing and collaged ephemera, Howard explores new ways of communicating contemporary narratives. <br>This item contains the Research Timeline and Research Questions.