Louisa Bufardeci · University of Melbourne data repository · 2022
Figuring features over one hundred string figures made of face-mask elastic and pinned across the walls of three galleries. This project is inspired by the game of string figures, or cat’s cradles, which continues to be a popular game in primary school playgrounds. Children make Jacob’s Ladder, Cat’s Whiskers, A Broom, A Teacup or many other figures. Formed with mask elastic and presented randomly on the walls of the gallery, Bufardeci’s string figures are not complete. They come from attempts to make something fully formed but they end up tense, slack and entangled.
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Louisa Bufardeci · University of Melbourne data repository · 2022
Figuring features over one hundred string figures made of face-mask elastic and pinned across the walls of three galleries. This project is inspired by the game of string figures, or cat’s cradles, which continues to be a popular game in primary school playgrounds. Children make Jacob’s Ladder, Cat’s Whiskers, A Broom, A Teacup or many other figures. Formed with mask elastic and presented randomly on the walls of the gallery, Bufardeci’s string figures are not complete. They come from attempts to make something fully formed but they end up tense, slack and entangled.
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2014
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Corrinne Harol · Cambridge University Press eBooks · 2022
“Figuring: Margaret Cavendish’s Critique of Imagining and Worlding,” undertakes a case study of Cavendish’s foray into a favored intellectual strategy of modernity: to imagine a world (and therefore a politics) that follows the laws of the natural world as discovered by science. The worldview of liberalism is grounded in ideas of diversity and tolerance, the possibility of an ever-expanding, cosmopolitan world.i This is the proto-liberal view that Cavendish’s proto-conservatism, vitalism, and theory of the literary imagination finds untenable. Cavendish’s conservatism is manifested explicitly in the representations of sovereign violence that seem necessary to protect worlds and implicitly in the significance of a method of “figuration” that Cavendish theorizes—and practices—as the foundation of form in the natural world, the social world, and the literary imagination. Such figuration cannot escape the violent reality of secular nationalism inherent in the notion of “worlds.”
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Northwestern University Press eBooks · 2024
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Center for Art Research, University of Oregon · Scholars' Bank (University of Oregon) · 2021
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Nanna Verhoeff · 2025
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Goodwin, D · UCL Discovery (University College London)
A group show, consisting of 1 work, at the Tate Modern, London, Dundee Contemporary Arts, Scotland, FACT, Liverpool, Vivid, Birmingham, Showroom, Sheffield, Glimmer, The 7th Hull International Short Film Festival, Chapter Arts Centre, Cardiff, Wales, Site Festival, Stroud Valley Artspace and Cinecity - Brighton Film Festival. Mermaid Arts Centre, Bray, Co. Wicklow, Ireland. Ivan Dougherty Gallery, Sydney, Australia, Gallery of Modern Art, Brisbane, Australia, eMerge Media Space, James Cook University, Townsville, Australia, and Melbourne Cinémathèque, Australia.
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Tila L. Kellman · 2006
Can visual art help redeem one’s sense of self, damaged by technological society? Michael Snow’s work is often described as self-referential, meaning that it “talks” about the relationships between its materials and images, largely ignoring relationships beyond the “frame.” However, since the work also encompasses the way in which the interior relationship of the work intersects with sight and how they, together, create the frame, the work also must include the people looking at it. This book explores how the visual art practice of Michael Snow asks the question Who? of the viewers as they interpret what lies before them. Much criticism of Snow objectively analyzes the material interrelationships in his work, ignoring viewer participation, and implicitly giving the artist control of the view. However, what if the “who” is addressed from the perspective of the viewer, who is looking across a gap created by concrete representation, time, place, experience and, perhaps, gender? How then can it remain objective? Following on writers such as Martin Heidegger, Walter Benjamin, Paul Ricoeur, Jacques Derrida and Mikkel Borch-Jacobsen, Figuring Redemption questions the proposal that the contemporary sense of self is “fallen” as a result of modern technology, but can be redeemed in some part by certain kinds of visual art. Original in its positioning of interpretive and critical writing on the side of an embodied viewer, this book rejuvenates Snow criticism by going beyond discussions of materials and operation or of loss and distancing due to mediation. By alternating personal performance writing with objective analysis, the text participates in the destabilizing process of questioning self-recognition that Snow’s practice initiates.
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Roger H. Stuewer · The Physics Teacher · 2006
First Page
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Violet Ashford · Pediatric Physical Therapy · 1996
Objective facts are necessary for evaluating the effectiveness of physiotherapy treatments, and appropriate documentation is essential for monitoring changes in function. Most therapists cannot provide this information because complicated functions, such as abnormal patterns of gait, cannot be described adequately by written text or drawings. Benesh Movement Notation enables therapists to record any static posture and repetitive function of their patients. The notation has international relevance, the form enables communication of movement regardless of language. The method is precise, quick to complete, and inexpensive; nor does it inconvenience the patient. Access to the data is easy, because the records are already in analyzed form, so significant data can be extracted without the use of electronic equipment. Included is a demonstration of the use of records for the assessment of change in the field of pediatrics.
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University of Pittsburgh Press eBooks · 2017
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Conrad Hilberry · The Antioch Review · 1966
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W. v. Breda deBoer · 1998
Cited by 1
R. Morton · Journal of science and medicine in sport · 2013
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Giddy, Allan, Art, College of Fine Arts, UNSW · UNSWorks (University of New South Wales, Sydney, Australia) · 2008
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Princeton University Press eBooks · 2020
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Nanna Verhoeff · Amsterdam University Press eBooks · 2024
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Edward Krcma · UEA Digital Repository (University of East Anglia) · 2009
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Carolyn Yackel, sarah‐marie belcastro · American Mathematical Society eBooks · 2018
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