Szuper Gallery materials

A portfolio of prints, books and catalogues by Szuper Gallery exhibited at this group exhibition.

The art of shooting the moving goal - explorative study of EA pilot

Enterprise Architecture (EA) has been recognised as an important tool in modern business management for closing the gap between strategy and its execution. The current literature implies that for EA to be successful, it should have clearly defined goals. However, the goals of different stakeholders are found to be different, even contradictory. In our explorative research, we seek an answer to the questions: What kind of goals are set for the EA implementation? How do the goals evolve during the time? Are the goals different among stakeholders? How do they affect the success of EA? We analysed an EA pilot conducted among eleven Finnish Higher Education Institutions (HEIs) in 2011. The goals of the pilot were gathered from three different stages of the pilot: before the pilot, during the pilot, and after the pilot, by means of a project plan, interviews during the pilot and a questionnaire after the pilot. The data was analysed using qualitative and quantitative methods. Eight distinct goals were recognised by the coding: Adopt EA Method, Build Information Systems, Business Development, Improve Reporting, Process Improvement, Quality Assurance, Reduce Complexity, and Understand the Big Picture. The success of the pilot was analysed statistically using the scale 1-5. Results revealed that goals set before the pilot were very different from those mentioned during the pilot, or after the pilot. Goals before the pilot were mostly related to expected benefits from the pilot, whereas the most important result was to adopt the EA method. Results can be explained by possibly different roles of respondents, which in turn were most likely caused by poor communication. Interestingly, goals mentioned by different stakeholders were not limited to their traditional areas of responsibility. For example, in some cases Chief Information Officers' goals were Quality Assurance and Process Improvement, whereas managers’ goals were Build Information Systems and Adopt EA Method. This could be a result of a good understanding of the meaning of EA, or stakeholders do not regard EA as their concern at all. It is also interesting to notice that regardless of the different perceptions of goals among stakeholders, all HEIs felt the pilot to be successful. Thus the research does not provide support to confirm the link between clear goals and success.

Releasing of pheasants for shooting in the UK alters woodland invertebrate communities

The management of pheasants (Phasianus colchicus) in pens and their subsequent release within woodland for game shoots is widely practised in Britain. With the exception of ground flora and songbirds, the impacts on other taxa have not been well documented. We investigated the effects of pheasants on invertebrate abundance and community composition, using pitfall trapping. We compared release pens with control plots located in the same woods and in woods where no pheasant releasing had occurred for at least 25 years. Conditions for invertebrates within release pens were altered, with more annual plants and disturbance-tolerant perennials and a reduced leaf litter layer. No major differences in invertebrate abundance, or Carabidae or Staphylinidae richness, were found in spring at either the pen scale or the wood scale. However, pheasant release pens resulted in significant changes in the species composition of Carabidae, with shifts towards species typical of arable fields and grassland. Carabid species active in spring and those that are very large (N17.0 mm) declined at pheasant release densities higher than 1000 birds/ha. Both effects are likely to be due to predation by pheasants at the peak of release in July–August, operating separately on larvae and adults respectively. There was an overall increase in the abundance of detritivores, including Diplopoda, Oniscoidea, Gastropoda (snails), at higher release densities. Mean release density in our study was 1489 ± 126 birds/ha (range 174–3409, n = 37 pens) and we suggest that detrimental effects on specialist woodland invertebrates would be minimized if releasing was conducted at the recommended density of 700 birds/ha.

Conical sedimentary structures, trace fossils or not? Observations, experiments, and review

Conical sedimentary structures are widespread in the geological column. Those that are mediated by organisms (or organic matter) can be attributed to seven principal processes, which are investigated by experiment and/or field observations: (1) sand collapse into a cavity (decomposed body, open shaft, or gallery), (2) upward (escape) or downward locomotion by an organism through the sediment, (3) upward adjustment (equilibration), (4) casting of coelenterates' excavations, (5) organism-mediated soft-sediment deformation in heterolithic sediment, (6) biodeformational small and large excavations by organisms, and (7) fluid (gas or liquid) escape structures. Footprint loading may also be included. Criteria are given to distinguish between these processes. Dewatering pipes are best recognized by a zone of deformed and fluidized sediment at the base, and association with non-life (lethal) facies. Care must be used in assigning specimens to ichnotaxa, and it is generally necessary to slab, and also to carry out stratinomic investigation in the field.

Neolithic woodland composition and exploitation in the Southern Levant: a comparison between archaeobotanical remains from WF16 and present day woodland at Hammam Adethni

Excavations at the Pre-Pottery Neolithic site of WF16 in the Southern Levant produced an archaeobotanical assemblage constituted by plant macro-fossils and wood charcoal. As with all such assemblages, its species composition will most likely provide a biased reflection of those within the Neolithic woodland that had been exploited owing to cultural selection and differential preservation. As a means of facilitating its interpretation, a survey was undertaken of a relatively undisturbed patch of gallery woodland associated with a permanent water course at Hammam Adethni, approximately four kilometres south-east of WF16. The substantial overlap of the species within this woodland and those in the archaeobotanical assemblage suggests that this present-day woodland provides an analogue for that of the Neolithic and may therefore indicate what other plant resources the inhabitants of WF16 may have exploited, but which have left no archaeological trace. The interpretation of the results is supported by a comparative study of wood charcoal from present-day Bedouin hearths in Wadi Faynan.

The Dark Monarch: magic and modernity in British art

This major curated exhibition, publication and events builds on Rowlands’ curatorial research. Working in collaboration with co-curators Martin Clark, Artistic Director, Tate St Ives and Michael Bracewell, cultural historian, the exhibition sought to explore new narratives within British art. The innovative curatorial methodology developed from a fiction found in the infamous novel, The Dark Monarch by Sven Berlin, Gallery Press 1962. The research sought specific archival and collection work that allowed thematic strands to emerge that represented influences across generations. The exhibition features two-hundred artworks, from the Tate Collection, archives and other significant British public and private collections. It examines the development of early Modernism, in the UK, as well as the reappearance of esoteric and arcane references in a significant strand of contemporary art practice. Historical works from Samuel Palmer, Graham Sutherland, Henry Moore and Paul Nash are shown alongside contemporary artists including Derek Jarman, Cerith Wyn Evans, Eva Rothschild, Linder and John Russell. The exhibition includes a key work by Damien Hirst ¬ the first time he has been shown at Tate St Ives and a number of contemporary commissions. The Dark Monarch publication extended the discourse of the research critically examining the tension between progressive modernity and romantic knowledge, the book focuses on the way that artworks are encoded with various histories - geological, mythical and magical. Essays examine magic as a counterpoint to modernity’s transparency and rational progress, but also draw out the links modernity has with notions such as fetishism, mana, totem, and the taboo. Often viewed as counter to Modernism, this collection of essays suggest that these products of illusion and delusion in fact belong to modernity. Drawing together 15 different writers commissioned to explore magic as a counterpoint of liberal understanding of modernity, drawing out links that modernity has with notions of fetish, taboo and occult philosophy. Including essays by Marina Warner, Ilsa Colsell, Philip Hoare, Chris Stephens, Jennifer Higgie and Morrissey.