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Relevant bibliographies by topics / Burgin

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Academic literature on the topic 'Burgin'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Journal articles on the topic "Burgin"

1

Leddy, Annette. "Christine Burgin Gallery Records." Archives of American Art Journal 58, no. 1 (March 2019): 92–93. http://dx.doi.org/10.1086/703666.

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Iversen, Margaret. "BURGIN BETWEEN POLITICS AND ART." Art History 11, no. 1 (March 1988): 133–35. http://dx.doi.org/10.1111/j.1467-8365.1988.tb00288.x.

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Panero Gomez, Ana. "Tecnología, medios contemporáneos y transversalidad en la construcción de la serie Gradiva de Victor Burgin." Ñawi 4, no. 2 (July 17, 2020): 103. http://dx.doi.org/10.37785/nw.v4n2.a7.

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El presente artículo estudia y examina la serie fotoliteraria de Victor Burgin titulada Gradiva (1982). Este artista y teórico de la imagen reflexiona en ella acerca de las asunciones culturales que limitan el lenguaje y las posibilidades expresivas de dos medios como la fotografía y el cine. A través del argumento de la novela de Wilhelm Jensen Gradiva: una fantasía pompeyana (1903), Burgin aúna su interés por el psicoanálisis y su trabajo como filósofo de los medios de comunicación. La iconología de esta heroína se enriquece con las posibilidades de lectura surgidas gracias a la utilización del rebus como instrumento expresivo en la obra de Burgin.

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Habib, André. "Voyage to Italy de Victor Burgin (fragments photographiques)." Protée 35, no. 2 (2007): 55. http://dx.doi.org/10.7202/017467ar.

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VAN LOON, J. "Typologie van de middeleeuwse namen op-burgin de Nederlanden." Naamkunde 31, no. 3 (August 1, 1999): 139–56. http://dx.doi.org/10.2143/nk.31.3.2002964.

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Wilson, Frank. "A Thousand Natural Shocks: Selected Stories by Richard Burgin." Hopkins Review 12, no. 2 (2019): 302–5. http://dx.doi.org/10.1353/thr.2019.0045.

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Bishop, Ryan, and Sean Cubitt. "Camera as Object and Process: An Interview with Victor Burgin." Theory, Culture & Society 30, no. 7-8 (October 7, 2013): 199–219. http://dx.doi.org/10.1177/0263276413501346.

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Using a number of his recent site-specific installations, conceptual artist and theorist Victor Burgin discusses the status and future of the camera from photography to moving image to computer-generated virtual works that combine both still and moving images. In the process he modifies Bazin’s question ‘What is cinema?’ to ask ‘What is a camera?’ These works extend and develop Burgin’s long-standing interest in the relationship of aesthetics and politics as rendered through visualization technologies, especially as it pertains to space. Burgin’s discussion constructs a genealogy of seeing, visualizing and image-making as technologically-determined and crafted. The ideology of vision and the ideological artefacts produced by and through visual technologies from perspectival painting to analog photography to computer imaging constitute, in Burgin’s argument, ‘the ideological chora of our spectacular global village’.

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Weinstein, B. "ANGUS BURGIN. The Great Persuasion: Reinventing Free Markets since the Depression." American Historical Review 118, no. 4 (October 1, 2013): 1155. http://dx.doi.org/10.1093/ahr/118.4.1155.

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Bishop, Ryan. "A Circle of Fragments: Barthes, Burgin, and the Interruption of Rhetoric." Theory, Culture & Society 37, no. 4 (May 17, 2020): 135–65. http://dx.doi.org/10.1177/0263276420911436.

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Roland Barthes’ entire career pursued a dream of being freed from the tyranny of ossified, institutionalized, rote language use, as articulated from his first massively influential work on ‘writing degree zero’ in 1953. The anaemic role of institutional rhetoric and its dusty formulations dulled the capacity for using language and thought otherwise. For Barthes, fragments played a privileged role in the escape from the tyranny of meaning imposed by doxa and received wisdom, sometimes called ‘literature’ and ‘rhetoric’. Barthes once referred to almost all of his writing, and indeed theorizing, as ‘a circle of fragments’. The artist and theorist Victor Burgin has been profoundly influenced by Barthes’ writings and his attempts to escape the ideological constraints of language, institutions and images. His visual rhetorical practice now often takes the form of projection loops that are accessible by gallery attendees at any point in the loop. Their basic building block is also the fragment, and the loop constitutes another circle of fragments. His 2016 work Belledonne uses the time Barthes spent in the sanatorium for tuberculosis treatment as the basis for the piece, its computer-generated imagery and textual intertitles. This article examines Barthes’s writings on pre-Socratic rhetoric, as well as his self-reflexive engagement with his own theorizing, combined with Burgin’s reconsideration of moving image work in gallery or museum spaces as attempts to offer potentially liberatory strategies for eluding rote use and effects of language, image and thought.

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Henry, John F. "Angus Burgin: The Great Persuasion: Reinventing Free Markets Since the Depression." Journal of Economic Issues 50, no. 1 (January 2, 2016): 297–99. http://dx.doi.org/10.1080/00213624.2016.1148992.

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Dissertations / Theses on the topic "Burgin"

1

Wood, William. "The fish ceases to be a fish : a critical history of English conceptual art 1966-1972." Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390534.

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Ackerman, Amanda K. "Victor Burgin's "Gradiva": Feminism, Antiquity, and Conceptualism." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470672257.

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Giannouri, Evgenia. "Marches des corps, [dé]marches des images. Image et mouvement a l'aune du regard contemplatif et du corps en acte." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030160.

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Cette étude a des assises autant dans l’histoire de l’art que dans l’esthétique du cinéma. Son point de départ est une aporie : « Qu’est-ce que le mouvement en image dès lors il s’agit de le chercher en dehors des représentations et de leurs techniques ? ». La substance mobile des images dont nous souhaitons faire ici le cas se situe à l’intérieur même du point de vue et non pas à l’enchaînement entre points de vue. Il s’agit de penser sa construction en termes d’un clivage interne, d’une bifurcation. Il s’agit surtout de placer la construction du point de vue au croisement de deux apprentissages [mathésis] : d’un côté celle de la contemplation du monde à partir d’un point fixe, unique ou changeant, de l’autre celle de la mobilité inhérente qui régit tout aspect de la vie. Dans ce contexte, le mouvement des images ne serait pas seulement le résultat d’une révolution du regard ou l’aboutissement d’une aventure technique, mais également et au même titre qu’eux, le résultat d’un événement conflictuel entre deux configurations du [sa]voir différentes bien que totalement pondérées. « Qu’est-ce qui ne marche pas ? » est la question qui nous guide à travers l’écriture. Les images témoignent d’une forme de [dé]marche transversale, d’un accident de la « marche » tant au niveau structurel du film qu’au niveau diégétique. Elles renvoient à quelque chose comme un trouble, un dissentiment. Chaque partie de ce travail constitue, enfin, une étude de cas. Chaque cas dénonce une aporie de point de vue : pittoresque, elliptique, théorique. Les films analysés, très différents les uns des autres, proviennent du cinéma et de ses pratiques élargies. Mais chacune des trois parties est également conçue autour d’un « metteur-en-scène » au sens large : Robert Smithson, Gus van Sant, Victor Burgin. Issus de la grande famille des artistes et non seulement de celle des cinéastes confirmés, ils nous guident à travers la construction de récits ancrés autant dans l’histoire des arts [peinture, sculpture, architecture] que dans les péripéties du cinéma contemporain
Both art history and cinema aesthetics lie at the foundations of this study. Our starting point is a perplexing difficulty [an aporia]: “What is an image motion when we think about movement beyond its representations and the techniques that accompany them?”. In this dissertation, we examine the mobile substance of images from within the standpoint itself and what resembles to an internal cleavage. We argue that a particular kind of viewpoint can emerge at the crossroads of two different understandings [mathesis]: on the one hand, the contemplation of the world from a single or interchangeable fixed point; on the other hand, the corporeal mobility inherent to every aspect of life. Within this context, image motion is more than just the consequence of a major change in our “ways of looking”, or the outcome of a technical adventure. We argue that image motion is equally the result of a conflict between two different configurations of knowledge - seeing. The images attest to a way of thinking and unthinking motion, illustrated by a disruption in “the walk of the images” which takes place both in the film’s narrative and in the film’s structure revealing something like a trouble, or a dissent. Each section in this work constitutes an autonomous case study. Each case relates to a particular bifurcation of the standpoint: picturesque; elliptical; theoretical. The films in question, very different from one another, stem from cinema and its expanded practices. These three sections are also articulated around three “metteurs-en-scène”: Robert Smithson, Gus Van Sant, Victor Burgin. Belonging to the larger family of artists [and not only to that of confirmed filmmakers], they guide us through the unfolding of a narrative, whose roots are to be found as much in the history of the arts [painting, sculpture, architecture], as in the vicissitudes of contemporary cinema

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Zida, Didier. "Impact of forest management regimes on ligneous regeneration in the Sudanian savanna of Burkina Faso /." Umeå : Dept. of Forest Genetics and Plant Physiology, Swedish University of Agricultural Sciences, 2007. http://epsilon.slu.se/200766.pdf.

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Spazier, Ines. "Mittelalterliche Burgen zwischen mittlere Elbe und Bober /." Wünsdorf : Verl. Brandenburgisches Landesmuseum für Ur- und Frühgeschichte, 1999. http://catalogue.bnf.fr/ark:/12148/cb37648633r.

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Texte remanié de: Diss.--Philosophische Fakultät--Dresden--Technische Universität, 1994. Titre de soutenance : Die mittelalterlichen Burgen und Herrensitze in der Niederlausitz im Vergleich zu den westlich und südlich angrenzenden Siedlungsgebieten. Eine archäologische, historische und archivalische Studie.
Bibliogr. p. 246-257. Index.

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Staatliche, Schlösser Burgen und Gärten Sachsen. "Jahrbuch / Staatliche Schlösser, Burgen und Gärten Sachsen." Sandstein Verlag, 2007. https://slub.qucosa.de/id/qucosa%3A35591.

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Staatliche, Schlösser Burgen und Gärten Sachsen. "Jahrbuch / Staatliche Schlösser, Burgen und Gärten Sachsen." Sandstein Verlag, 2004. https://slub.qucosa.de/id/qucosa%3A36529.

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Staatliche, Schlösser Burgen und Gärten Sachsen. "Jahrbuch / Staatliche Schlösser, Burgen und Gärten Sachsen." Sandstein Verlag, 2005. https://slub.qucosa.de/id/qucosa%3A36530.

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Staatliche, Schlösser Burgen und Gärten Sachsen. "Jahrbuch / Staatliche Schlösser, Burgen und Gärten Sachsen." Sandstein Verlag, 2008. https://slub.qucosa.de/id/qucosa%3A36531.

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Staatliche, Schlösser Burgen und Gärten Sachsen. "Jahrbuch / Staatliche Schlösser, Burgen und Gärten Sachsen." Sandstein Verlag, 2009. https://slub.qucosa.de/id/qucosa%3A36532.

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Books on the topic "Burgin"

1

Burgin, Victor. Office at night: Victor Burgin. Los Angeles: LACE, 1987.

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Burgin, Victor. Victor Burgin, Mari Mahr, Mitra Tabrizian. (London): PRESS and the Photographers' Gallery, 1986.

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Filippo, Maggia, Opera Bevilacqua La Masa (Venice, Italy), and Museo di fotografia contemporanea (Cinisello Balsamo, Italy), eds. Victor Burgin: Components of a practice. Milano: Skira, 2008.

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Burgin, Diana Lewis. Richard Burgin, a life in verse. Columbus, Ohio: Slavica Publishers, 1988.

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Alexander, Streitberger, ed. Situational aesthetics: Selected writings by Victor Burgin. Leuven: Leuven University Press, 2009.

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Silvers, Peggy. Echoes in the mist: The Burgin family, 1677-1989. Nebo, N.C. (Rt. 1, Box 796, Nebo 28761): P. Silvers, 1989.

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Victor, Burgin. Victor Burgin: Una exposición retrospectiva, Fundació Antoni Tàpies, 6 abril-17 junio 2001. Barcelona: La Fundació, 2001.

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Soltek, Stefan. Burgis Heine, Burgi Kühnemann: Heinrich Heine--Buchkunst, Installationen. [Düsseldorf: Droste], 1997.

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Stenzel, Gerhard. Österreichs Burgen. [Wien]: Kremayr & Scheriau, 1989.

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Burjin čas. Trst: Mladika, 2009.

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Book chapters on the topic "Burgin"

1

Mulvey, Laura. "Dialogue with Spectatorship: Barbara Kruger and Victor Burgin." In Visual and Other Pleasures, 127–36. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19798-9_11.

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"Victor Burgin." In Photography Theory, 373–78. Routledge, 2013. http://dx.doi.org/10.4324/9780203944141-49.

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"CXI. Ḥ. Burgin." In Iudaea / Idumae, Part 2: 3325-3978, edited by Walter Ameling, Hannah M. Cotton, Werner Eck, Avner Ecker, Benjamin Isaac, Alla Kushnir-Stein, Haggai Misgav, Jonathan Price, Peter Weiß, and Ada Yardeni, 843–44. Berlin, Boston: De Gruyter, 2018. http://dx.doi.org/10.1515/9783110544930-010.

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Burgin, Victor, and Sunil Manghani. "Reading Barthes, Again." In Seeing Degree Zero, 17–42. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474431415.003.0002.

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The exchange presented in this chapter between Victor Burgin and Sunil Manghani builds upon an earlier on, 'Reading Barthes', as presented in the volume Barthes/Burgin (Bishop and Manghani 2016: 73-89). The text is premised upon reading Barthes again, as in reflecting on what it has meant to engage with his work while addressing questions around the zero degree, specificities, responsibilities of form, and the political. By establishing a number of historical and critical interests, the exchange recounts how Burgin's sustained reading of Barthes begun in the 1960s long before many in the art world were familiar with the name. The dialogue covers a range of ideas and issues including medium specificity, the Neutral and the trope of 'as if' as common to both Burgin and Barthes work.

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"Geometry and Abjection: Victor Burgin." In Abjection, Melancholia and Love, 112–31. Routledge, 2012. http://dx.doi.org/10.4324/9780203120545-14.

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Manghani, Sunil. "Neutral Seeing: Saenredam, Barthes, Burgin." In Seeing Degree Zero, 109–36. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474431415.003.0004.

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Having established important theoretical links between both Barthes and Burgin in the previous chapter, this chapter turns directly to the book's key consideration of 'zero degree seeing'. It provides historical overview to Barthes' Writing Degree Zero before going onto explore a visual equivalent of the zero degree. The starting point is Barthes' essay on seventeenth-century Dutch painting, notably his commentary on Saenredam, whose complex, interlaced rendering of space and augmented perspective sets up a way of picturing that is echoed in the modernist writing of Robbe-Grillet, and Burgin's practice of a 'theoretical vision'.The notion of a 'zero degree' form in the arts remains an enigmatic idea, and not least for potential critique of and through political aesthetics. This chapter takes on the challenge (as does the volume more broadly) to offer an assessment of both what constitutes 'zero degree seeing' and how any such 'form' must always continue to evolve.

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Bishop, Ryan, Victor Burgin, and Sean Cubitt. "Camera as Object and Process." In Seeing Degree Zero, 257–72. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474431415.003.0009.

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The chapter provides a conversation between the three authors in which a number of Burgin's site-specific installations frame a consideration of the status and future of the camera from photography to moving image to computer-generated virtual works. In the process Burgin modifies Bazin's question 'What is cinema?' to ask 'What is a camera?'. The CGI projection works extend and develop Burgin's long-standing interest in the relationship of aesthetics and politics as rendered through visualisation technologies, especially as it pertains to space. Burgin's account constructs a genealogy of seeing, visualising and image-making as technologically determined and crafted. In brief, he explains that 'the history of the camera is inseparable from the history of perspective'.

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Burgin, Victor. "Mutation, Appropriation and Style." In Post-cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463727235_ch06.

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Victor Burgin’s text provides a theoretical reflection on the technological transformations of what he calls the “field of ‘photofilmic’ practices.” He postulates that “cinema” directs our minds to “technological mutation,” while “art” evokes the “ideologico-economic appropriation.” Using as a framework of reasoning themes that gave rise to the publications of the Key Debates series – screen and stories – and adding the idea of virtual object as resulting from the convergence of the digital with the contemporary, Burgin highlights the advent of new “photofilmic narrative forms” characterized by the combination of complexity and affectivity.”

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Mulvey, Laura. "Dialogue with Spectatorship: Barbara Kruger and Victor Burgin." In Illuminations, 377–85. Routledge, 2021. http://dx.doi.org/10.4324/9781003135630-54.

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Hon, Gordon. "The Work of Death in Burgin’s Belledonne." In Seeing Degree Zero, 413–26. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474431415.003.0014.

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The chapter provides a largely psychoanalytic reading of Victor Burgin's Belledonne that relates the panoramic form of this projection piece to the nearly mechanical operations of Freud's death drive and the unheimlich encounters with non-human agency that pertain in the projection. The gaze in the artwork, the gaze of the zero degree CGI camera, which Burgin calls 'theoretical vision', therefore does not seek satisfaction but instead repetition, excess and destruction. The argument made is that there is a critical structural relationship between the impossible subject position offered by the virtual eye of the virtual camera and the indescribable, psychological object operational in the projection piece. In turn this opens up a deeper rumination on the 'absent' or unseeable aspects of artworks and how such 'viewership' persists over time.

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Conference papers on the topic "Burgin"

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Caro, María. "Anomalía en el libro de Kells. Dinámicas del acontecimiento." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8985.

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Al igual que ocurre en un libro, una secuencia de imágenes impulsa determinados procesos de lectura propios de la estructura vermicular y de la relación causal entre los signos visuales que cohabitan o se suceden en esa secuencia. La obra fotográfica Anomalía en el libro de Kells (2018) se presenta como una serie formada por páginas sobredimensionadas en las que se incluyen y ordenan ciertas imágenes, propiciando un diálogo entre sí y entre los espacios en blanco que las separan. Como parte de la obra aparece también el llamado pie de foto el cual, adoptando determinados posicionamientos se convierte en un signo visual más . Esta investigación se centra en lo que ocurre cuando la imagen fotográfica se convierte en la figura citada en un texto, pero su relación con él no queda limitada a una mera ilustración enciclopédica, sino que subvierte su función y se desliza por las lindes de la referencia. El texto en este caso no nomina, no traduce ni enlaza de forma arbitraria a la figura que cita. ¿Cómo afecta a la lectura -ese proceso de desencriptado que se realiza de manera instantánea cuando el lector /espectador se enfrenta a la organización convencional de una página- que las conexiones entre significado y significante se materialicen en todo un campo de posibilidades? El análisis del acontecimiento narrativo desde sus estructuras fijas y pactadas hasta la observación directa de ciertas obras plásticas como las de Hamish Fulton, Victor Burgin o Duane Michals que conjugan formalmente texto e imagen; además de el análisis de los trabajos de directores de fotografía como Alberto Bianda o John Szarkowski conforman el método de investigación de este artículo y aportan las claves para desentrañar los distintos niveles formales y conceptuales en los que el suceso se desenvuelve.

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Naik, Vinay, Mariam Jasem, H. S. Al-Enezi, F. Al-Matroud, R. Haryono, and P. K. Behera. "Production Enhancement Strategy in Lower Burgan Reservoir: Greater Burgan Field, Kuwait." In SPE Kuwait Oil and Gas Show and Conference. Society of Petroleum Engineers, 2015. http://dx.doi.org/10.2118/175345-ms.

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"Front Matter for Volume 992." In BURNING PLASMA DIAGNOSTICS: An International Conference. American Institute of Physics, 2008. http://dx.doi.org/10.1063/v992.frontmatter.

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"Back Matter for Volume 981." In BURNING PLASMA DIAGNOSTICS: An International Conference. American Institute of Physics, 2008. http://dx.doi.org/10.1063/v981.backmatter.

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"Back Matter for Volume 982." In BURNING PLASMA DIAGNOSTICS: An International Conference. American Institute of Physics, 2008. http://dx.doi.org/10.1063/v982.backmatter.

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"Front Matter for Volume 980." In BURNING PLASMA DIAGNOSTICS: An International Conference. American Institute of Physics, 2008. http://dx.doi.org/10.1063/v980.frontmatter.

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"Front Matter for Volume 982." In BURNING PLASMA DIAGNOSTICS: An International Conference. American Institute of Physics, 2008. http://dx.doi.org/10.1063/v982.frontmatter.

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"Back Matter for Volume 983." In BURNING PLASMA DIAGNOSTICS: An International Conference. American Institute of Physics, 2008. http://dx.doi.org/10.1063/v983.backmatter.

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"Front Matter for Volume 983." In BURNING PLASMA DIAGNOSTICS: An International Conference. American Institute of Physics, 2008. http://dx.doi.org/10.1063/v983.frontmatter.

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"Back Matter for Volume 984." In BURNING PLASMA DIAGNOSTICS: An International Conference. American Institute of Physics, 2008. http://dx.doi.org/10.1063/v984.backmatter.

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Reports on the topic "Burgin"

1

Vigil-Holterman, Luciana R. Interim Status Closure Plan Open Burning Treatment Unit Technical Area 16-399 Burn Tray. Office of Scientific and Technical Information (OSTI), May 2012. http://dx.doi.org/10.2172/1040013.

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Furth, H. P., R. J. Goldston, S. J. Zweben, and D. J. Sigmar. Burning plasmas. Office of Scientific and Technical Information (OSTI), October 1990. http://dx.doi.org/10.2172/6476367.

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Vreeland, Heidi, Christina Norris, Lauren Shum, Jaya Pokuri, Emily Shannon, Anmol Raina, Ayushman Tripathi, et al. Collaborative Efforts to Investigate Emissions From Residential and Municipal Trash Burning in India. RTI Press, September 2018. http://dx.doi.org/10.3768/rtipress.2018.rb.0019.1809.

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Emissions from trash burning represent an important component of regional air quality, especially in countries such as India where the practice of roadside, residential, and municipal trash burning is highly prevalent. However, research on trash emissions is limited due to difficulties associated with measuring a source that varies widely in composition and burning characteristics. To investigate trash burning in India, a collaborative program was formed among RTI, Duke University, and the India Institute of Technology (IIT) in Gandhinagar, involving both senior researchers and students. In addition to researching emission measurement techniques, this program aimed to foster international partnerships and provide students with a hands-on educational experience, culminating in a pilot study in India. Before traveling, students from Duke and IIT met virtually to design experiments. IIT students were able to visit proposed sites and offer specified knowledge on burning practices prior to the pilot study, allowing potential experiments to be iteratively improved. The results demonstrated a proof of concept of using a low-cost sensor attached to a commercial drone to measure emissions from a municipal dump site. In addition, for small-scale residential and roadside trash burning, a combustor was designed to burn trash in a consistent way. Results suggested that thermocouples and low-cost sensors may offer an affordable way for combustor designers to assess particulate emissions during prototype iterations. More experiences like this should be made available so that future research can benefit from the unique insights that come from having veteran researchers work with students and from forming international partnerships.

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Skone, Timothy J. Broadcast Burning Stemwood. Office of Scientific and Technical Information (OSTI), July 2013. http://dx.doi.org/10.2172/1508999.

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Skone, Timothy J. Broadcast Burning Crownwood. Office of Scientific and Technical Information (OSTI), July 2013. http://dx.doi.org/10.2172/1508998.

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Collins, Gregory. Pennsylvania School Tax Burden. Consortium for Policy Research in Education, September 2016. http://dx.doi.org/10.12698/cpre.2016.pb16-1.

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Turowska, Zuzanna, and Elodie Becquey. Leçons apprises: Burkina Faso. Washington, DC: International Food Policy Research Institute, 2020. http://dx.doi.org/10.2499/p15738coll2.134459.

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Chote, Robert, Rowena Crawford, Carl Emmerson, and Gemma Tetlow. The tax burden under Labour. Institute for Fiscal Studies, April 2010. http://dx.doi.org/10.1920/bn.ifs.2010.0091.

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Levander, Thomas, and Svante Bodin. Controlling Emissions from Wood Burning. Nordic Council of Ministers, April 2014. http://dx.doi.org/10.6027/tn2014-517.

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Smith, Bryce, and Cary Bradford Skidmore. Remembering the Burning Ground Accident. Office of Scientific and Technical Information (OSTI), September 2018. http://dx.doi.org/10.2172/1473786.

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