La ruina como proceso: Robert Overby, Gordon Matta-Clark, Francesca Woodman y su legado

Me gustaría comenzar por agradecer a mi director Josu Larrañaga Altuna no solo su asistencia, guía y soporte para completar esta tesis, sino también el profundo respeto mostrado a la hora de plantear su ejecución en simbiosis con mi paulatino desarrollo vital como artista. Estoy en deuda con mi tutor en Estados Unidos, Leo Costello, por la generosidad mostrada al acogerme durante dos años como investigadora invitada en el Departamento de Historia del Arte de Rice University en Houston, durante los cuales iluminó algunos de los temas que han sido fundamentales para establecer las raíces históricas de la presente investigación. El estímulo y la calurosa acogida ofrecidos por la académica Fabiola López- Duran, Geoff Winnngahan y Annick Dekiouk que hicieron de Houston mi casa, integrándome en ese mundo donde los tejidos artísticos profesionales y académicos se entrelazan ha sido invaluable, así como la beca otorgada por la comisión Fulbright de España y la aceptación en el International Studio and Curatorial Program de Nueva York (ISCP) quienes hicieron posible la aventura americana. Gracias a esta, descubrí como una revelación a Robert Overby, esencial para el rumbo que tomó posteriormente la investigación. José Luis Corazón Ardura y Elisabeth Cummins Muñoz me aportaron el despertar a la conciencia de palabra justa sin renunciar a la esencia poética. Espero que esta tesis refleje las inestimables aportaciones que recibí de cada uno de ellos. Por otra parte me gustaría agradecer a mis galeristas Kerry Inman y Pilar Serra su apoyo a la hora de compatibilizar la vida académica con la artística. A mi hija Mariana por ofrecerme la maravillosa experiencia de descubrir paulatinamente el mundo juntas a través del lenguaje y sus diferentes idiomas. Y finalmente, mi más profundo reconocimiento a mi marido Alexandre, por creer en mí ciegamente, desde el principio y por encima de todas las cosas, mostrando su apoyo incondicional y constante en el tiempo. Porque su extraordinario valor me ha permitido seguir mis sueños y sobre todo por ofrecerme todas esas vidas posibles que no había osado soñar...

Finance past, finance future: a brief exploration of the evolution of financial practices

As we work our way through the latest financial crisis, politicians seem both powerless to act convincingly and unable to craft from the welter of diverse and antagonistic narratives a coherent and convincing vision of the future. In this article, we argue that a temporal lens brings clarity to such confusion, and that thinking in terms of time and reflecting on privileged temporal structures helps to highlight underlying assumptions and distinguish different narratives from one another. We begin by articulating our understanding of temporality, and we proceed to apply this to the evolution of financial practice during different historical epochs as recently delineated by Gordon (2012). We argue that the principles of finance were effectively in place by the eighteenth century and that consequent developments are best conceptualized as phases in which one particular aspect is intensified. We find that in different historical periods, the temporal intensification associated with specific models of finance shifts, over history, from the past to the present to the future. We argue that a quite idiosyncratic understanding of the future has been intensified in the present phase, what we refer to as proximal future, and we explain how this has come to be. We then consider the ethical consequences of privileging an intensification of proximal future before mapping an alternative model centred on intensifying distal future, highlighting early signs of its potential emergence in the shadows of our present.

Running to stand still: late modernity's acceleration fixation

That we live in a time of unprecedented and ever-increasing change is both a shibboleth of our age and the more-or-less explicit justification for all manner of “strategic” actions. The seldom, if ever, questioned assumption is that our now is more ephemeral, more evanescent, than any that preceded it. In this essay, we subject this assumption to some critical scrutiny, utilizing a range of empirical detail. In the face of this assay we find the assumption to be considerably wanting. We suggest that what we are actually witnessing is mere acceleration, which we distinguish as intensification along a preexisting trajectory, parading as more substantive and radical movement away from a preexisting trajectory. Deploying Deleuze's (2004) terms we are, we suggest, in thrall to representation of the same at the expense of repetition of difference. Our consumption by acceleration, we argue, both occludes the lack of substantive change actually occurring while simultaneously delimiting possibilities of thinking of and enacting the truly radical. We also consider how this setup is maintained, thus attempting to shed some light on why we are seemingly running to stand still. As the Red Queen said, “it's necessary to run faster even to stay in the one place.”

The end of the shock of the new

‘Shock’ advertising is the new black and the subject of the reflection in which this article engages. We do this in particular through consideration of the (largely) British high-street fashion house French Connection’s seemingly endless ‘FCUK’ campaign. The obvious resonance between this abbreviation and perhaps the most popular word in the English language was at the heart of the campaign’s appeal and it continues today through various extensions on both slogans and logos on French Connection’s own goods and indeed those who seek to piggy back upon and/or subvert its market power. It is far from the only example of such ‘shock’ tactics. Whether discussing reproduction in graphic detail with children, joyously dismantling chastity, or merely fucking with fuck, it seems that traditional mores can no longer remain virgin territory, unsullied by rapacious marketing. Our mediated experiences of reaching ‘extremes’, it now appears, are not paralysing, mesmerising, fascinating or inspiring but simply a further prod down the path leading to (gleeful) purchase. In this paper we explore how, via a series of semiotic reversals, the new, the strange, the unfamiliar and the would-be shocking are rendered banal, and thus thoroughly comprehensible through brand association and the endless re-iteration of existing works.

El Periodismo de Datos en España

El Periodismo de Datos se ha convertido en una de las tendencias que se están implantando en los medios. En pocos años el desarrollo y visibilidad de esta modalidad ha aumentado considerablemente y son numerosos los medios que cuentan con equipos y espacios específicos de Periodismo de Datos en el panorama internacional. Del mismo modo, existen aplicaciones, plataformas, webs, o fundaciones al margen de las empresas periodísticas cuya labor también puede ser enmarcada en este ámbito. El objetivo principal de esta contribución es establecer una radiografía de la implantación del Periodismo de Datos en España; tanto dentro como fuera de los medios. Aunque se trata de una disciplina todavía en fase de desarrollo, parece adecuado realizar un estudio exploratorio que ofrezca una panorámica de su situación actual en España.

Chronic smartphone gaming consumption and positive coping practice

Purpose - Chronic consumption practice has been greatly accelerated by mobile, interactive and smartphone gaming technology devices. This study explores how chronic consumption of smartphone gaming produces positive coping practice. Design/methodology/approach - Underpinned by cognitive framing theory, empirical insights from eleven focus groups (n=62) reveal how smartphone gaming enhances positive coping amongst gamers and non-gamers. Findings - The findings reveal how the chronic consumption of games allows technology to act with privileged agency that resolves tensions between individuals and collectives. Consumption narratives of smartphone games, even when play is limited, lead to the identification of three cognitive frames through which positive coping processes operate: (a) the market generated frame, (b) the social being frame, and (c) the citizen frame. Research limitations/implications – This paper adds to previous research by providing an understanding of positive coping practice in the smartphone chronic gaming consumption. Originality/value - In smartphone chronic gaming consumption, cognitive frames enable positive coping by fostering appraisal capacities in which individuals confront, hegemony, culture and alterity-morality concerns. 

Navigating 3d Scatter Plots in Immersive Virtual Reality

Thesis (Master's)--University of Washington, 2016-01

5G innovation opportunities-- A discussion paper

On the shaping of 5G technologies and networks, scope for wider service and applications innovation and UK strengths and opportunities.

Move, for string quartet, piano, percussion and electronics

MOVE is a composition for string quartet, piano, percussion and electronics of approximately 15-16 minutes duration in three movements. The work incorporates electronic samples either synthesized electronically by the composer or recorded from acoustic instruments. The work aims to use electronic sounds as an expansion of the tonal palette of the chamber group (rather like an extended percussion setup) as opposed to a dominating sonic feature of the music. This is done by limiting the use of electronics to specific sections of the work, and by prioritizing blend and sonic coherence in the synthesized samples. The work uses fixed electronics in such a way that allows for tempo variations in the music. Generally, a difficulty arises in that fixed “tape” parts don’t allow tempo variations; while truly “live” software algorithms sacrifice rhythmic accuracy. Sample pads, such as the Roland SPD-SX, provide an elegant solution. The latency of such a device is close enough to zero that individual samples can be triggered in real time at a range of tempi. The percussion setup in this work (vibraphone and sample pad) allows one player to cover both parts, eliminating the need for an external musician to trigger the electronics. Compositionally, momentum is used as a constructing principle. The first movement makes prominent use of ostinato and shifting meter. The second is a set of variations on a repeated harmonic pattern, with a polymetric middle section. The third is a type of passacaglia, wherein the bassline is not introduced right away, but becomes more significant later in the movement. Given the importance of visual presentation in the Internet age, the final goal of the project was to shoot HD video of a studio performance of the work for publication online. The composer recorded audio and video in two separate sessions and edited the production using Logic X and Adobe Premiere Pro. The final video presentation can be seen at geoffsheil.com/move.

Nutrient loading on free range layer farms

A considerable proportion of the dietary nutrients consumed by poultry are excreted in the manure. This becomes an important issue on free range farms, if manure and/or nutrients are not removed periodically from the range areas. The nutrients and trace elements in manure can accumulate in the soil and become toxic to vegetation, while also causing pollution of ground and surface water through leaching. Soil samples were collected from fourteen free range layer farms both on the range and control areas (with no exposure to poultry) to investigate comparative soil nutrient concentrations. Nutrient concentrations were also compared between fixed and rotational ranges and between farms having different bird densities. At each site, soil was collected from 10 sampling points, arranged diagonally in a grid across both the range and control areas. A sampling probe was used to collect soil from the top 10 cm depth. These were submitted for a standardised lab analysis (Apal Agricultural Laboratory, SA, Australia). Data was subjected to analysis of variance and means considered significant at P < 0.05.