Relevant bibliographies by topics / The Artist of the Floating World

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'The Artist of the Floating World'

Author: Grafiati
Published: 5 June 2025
Last updated: 16 July 2025

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Journal articles on the topic "The Artist of the Floating World"

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McGeown, Kate. "An artist of the floating world." Nature 388, no. 6640 (1997): 333. http://dx.doi.org/10.1038/40989.

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Drozdovskyi, D. І. "An Artist of the Floating World." Visnik Nacional'noi' academii' nauk Ukrai'ni 12 (December 20, 2017): 73–76. http://dx.doi.org/10.15407/visn2017.12.073.

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Sarvan, Charles. "Floating Signifiers and An Artist of the Floating World." Journal of Commonwealth Literature 32, no. 1 (1997): 93–101. http://dx.doi.org/10.1177/002198949703200108.

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Romano, Donna. "In the service of artists – symbiosis and creative engagement in collection development strategy at NIVAL: National Irish Visual Arts Library." Art Libraries Journal 43, no. 3 (2018): 127–36. http://dx.doi.org/10.1017/alj.2018.17.

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This paper explores the essential and dynamic relationship between the artist and the institution in building the public record of arts activity. It examines the lifecycle of artist-generated documentation and the various methods of engagement with the library that result in material contributions to the collection.Taking the view that NIVAL is an essentially democratic project in both collection development and access strategies, the paper presents an introduction to the genesis of the library, and outlines some of the ways in which contemporary artists are supporting the role of NIVAL as ‘living archive’. The paper examines a number of recent collaborative projects with practising artists including Jennie Guy, artists’ collaborative Floating World and National College of Art & Design Communication Design students that attest to the regenerative effect of direct engagement by artists in the process of legacy building.
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Gallois, William. "An Illumination of a Floating World." American Historical Review 126, no. 2 (2021): 708–9. http://dx.doi.org/10.1093/ahr/rhab221.

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Abstract If a picture was not seen to be art when it was made, can we imagine that its producer may have designed the work to be read elsewhere in time or space? Or, perhaps, that the eyes that have been trained upon the work have rarely been those that were able to see and describe its value? This piece (also available on Instagram @cendrillondefes) tries to dramatize the gains that come to history through a process of learning to read a text whose significance was not seen in the moment in which it was made. It aims at a discrete form of upending, in reevaluating the work of an important artist and the culture from which they came, while aspiring to be a more of a beginning than an ending in its more general goals. These humbler aspirations depend upon seeing its subject as a teacher, rather than simply as an object of study.
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Zeynep, Rana Turgut. "Looking at the changing world through a displaced and estranged artist: Kazuo Ishiguros, an artist of the floating world." Journal of Languages and Culture 8, no. 4 (2017): 32–36. http://dx.doi.org/10.5897/jlc2017.0430.

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M, Dhivashini, and Dr S. Susan Nirmala. "An Exploration of Historical Backdrops and their Consequences in former Novels of Kazuo Ishiguro." International Journal of English Literature and Social Sciences 10, no. 2 (2025): 106–8. https://doi.org/10.22161/ijels.102.18.

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The novels The Pale View of The Hills, An Artist of the Floating World, The Remains of The Day and When We Were Orphans hold the history of World War II predominantly and other historical contexts. Kazuo Ishiguro has placed history as an inevitable backdrop for most of his novels. The storyline blends with history and varies from traditional historical fiction. The protagonists are severely affected by the war, and the trauma recurring in the characters. This paper aims to analyse the historical instances and the trauma the characters had to undergo in the former novels of Ishiguro. In The Pale View of The Hills and An Artist of the Floating World, Estuko and Ono, the protagonists, recount their trauma after the disastrous atomic bombs on Nagasaki. The hardship in rebuilding the city after the loss is eminently narrated through the characters. In the novels, The Remains Of The Day and When We Were Orphans the histories are pinned along as important events before World War I and inevitable consequences of the Sino-Japanese War respectively.
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Das, Sonali, Mousumi Dash, Ashok Kumar Mohanty, and Salini Sethi. "Sculpting Historiography as a Narrative in An Artist of the Floating World." Research Journal of Humanities and Social Sciences 11, no. 1 (2020): 1. http://dx.doi.org/10.5958/2321-5828.2020.00001.7.

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Bok-ki Lee. "Kazuo Ishiguro’s An Artist of the Floating World: Problems of Repentance and Forgiveness." Studies in English Language & Literature 44, no. 2 (2018): 149–66. http://dx.doi.org/10.21559/aellk.2018.44.2.008.

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Perlberg, Mark. "The Floating World." Hudson Review 42, no. 1 (1989): 93. http://dx.doi.org/10.2307/3851164.

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Dissertations / Theses on the topic "The Artist of the Floating World"

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Sugiyama, Rose Yukiko. "Espacialidades narrativas: uma leitura de An Artist of the Floating World de Kazuo Ishiguro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-18112009-163255/.

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Nesta dissertação, o exame de An Artist of the Floating World, de Kazuo Ishiguro, adota a espacialidade como vetor interpretativo do romance. Ao considerarmos o espaço como um dado estruturante sobre o qual outros elementos narrativos se apóiam e se desenvolvem, apontamos alguns modos de tratamento do espaço na literatura para verificar as formas de sua consecução na obra. Embora o processo de rememoração do narrador protagonista envolva diferentes camadas temporais e espaciais, observamos a existência de um espaço primordial, a partir do qual todos os demais espaços são desdobrados, atuando como uma fonte de sentidos para as experiências vividas pelo protagonista. Pautada por sobreposições espaciais cujas camadas estabelecem relações de complementaridade, a narrativa cria um adensamento na significação dos eventos, dos conflitos e dos papéis vividos pelos personagens. Por meio de tais relações e na perspectiva das considerações críticas de Luis A. Brandão, Georges Poulet e Michel Foucault, buscamos analisar o espaço que rege este romance em suas funções e características heterotópicas.<br>This dissertation examines An Artist of the Floating World by Kazuo Ishiguro through the category of space. Spatiality is considered a structuring element over which other narrative aspects develop. Some literary ways of space treatment are pointed out in order to verify how they function in this novel. The existence of a primordial space, through which all the other narrative spaces are unfolded, is observed as a source of meanings for the protagonists experiences, even though his process of remembrance implies different levels of time and space. Oriented by spatial superposition, whose levels establish complementary relations, the narrative creates a density of meanings, conflicts, and characters roles. Scrutinizing these relations and considering the critical approaches presented by Luis A. Brandão, Georges Poulet, and Michel Foucault, this dissertation analyses the space that rules this novel in its role and heterotopic features.
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Johansson, Monique. "The Colonizer and the Colonized in Kazuo Ishiguro's Novels, An Artist of the Floating World and The Remains of the Day." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18228.

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This essay investigates the colonized self in Kazuo Ishiguro’s An Artist of the Floating World and The Remains of the Day, by analyzing the novels from a postcolonial perspective. Furthermore, it discusses how and why Masuji Ono and Mr. Stevens are affected by Japanese imperialism and British colonialism. Through a close reading of the novels, this essay argues that the protagonists are ‘colonized’ by their own countries, and eventually also ‘imperialized,’ or influenced, by America following the Second World War. Ono is ‘colonized’ by his colleague Matsuda, while Mr. Stevens is ‘colonized’ by his employer, Mr. Darlington. Later on, they are both ‘imperialized’ through the American occupation and influence.
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Maggs, David. "Artists of the floating world : rethinking art/sustainability relations in the late days of modernity." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46995.

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This research is an attempt to reroute art-sustainability relations through the metaphysical juncture of Modernism’s fading dichotomies, i.e. fact-value, subject-object, culture-nature. For many this relationship has fallen short, particularly in the form of infocentric, instrumental engagements aimed at behaviour change. But if we read sustainability as a problem of worldview and artistic agency as ontological in nature, might something more promising emerge? To explore this, four artists were commissioned to produce work in response to an analysis of sustainability built around Bruno Latour’s ‘Modern Constitution’. The interests were twofold, to investigate the challenge of engaging art’s ‘ontological agency’ in light of prior art-sustainability frustrations; and to explore practical and ontological dimensions of operating ‘beyond’ the dichotomies of Modernity. The first interest concerns the prescriptive challenge of artistic agency—how do we ‘use’ art? Outcomes include the following explorations: A distinction between art’s behavioral and ontological agencies; a proposed category of ‘artistic ontologists’ to house scholarship aligning ontological agency with aesthetic, expressive, and imaginative priorities; a view of art as ‘double agent’, necessarily ‘of’ and ‘against’ encompassing rationalities; and the argument that a healthy view of art is fundamentally epistemological, a means to learn not teach. Regarding a ‘post’ Modern or ‘post-normal’ world, this research proposes to shift sustainability from the well-worn challenge to prove the world real to the more perplexing challenge to prove the world imaginary. This entails a shift from ‘substantive’ approaches to sustainability (facts drive values) to ‘procedural’ approaches, where sustainability emerges from the interactions of immanent human and non-human agencies. Practical concerns include structuring emergent dynamics within collective processes and shifting expertise accordingly. Ontological dimensions explore particular ‘qualities of immanence’ that might shape our imaginings in fruitful ways, while pursuing a genuine exit from Modernity nonetheless. Building on Mike Hulme’s arguments, I suggest sustainability in an imaginary world involves ‘flipping the sustainability predicate’, turning a problem we are trying to solve into one that solves us. This engages John Robinson’s work on ‘regenerative sustainability’ by arguing that regenerative approaches may not only be more compelling, but increasingly in line with emerging logics of a post-normal world.
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Hopkins, John. "The Floating World." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302255.

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Best, Karen. "A FLOATING WORLD: STORIES." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2070.

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A Floating World is a collection of short stories inspired by fairy tales. Often set in worlds where the mundane and the fantastic come together, these stories explore moments of strangeness that slip beyond the bounds of realist fiction. Fantastical events intrude into mundane reality as characters attempt to reconcile the known with the unknowable.<br>M.F.A.<br>Department of English<br>Arts and Humanities<br>Creative Writing MFA
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Nelson-McDermott, Catherine A. "Pictures of a floating world, relocating Bloomsbury." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21611.pdf.

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Dicken, Mary. "George Rochberg’s Ukiyo-e (Pictures of the Floating World)." Miami University Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1146856287.

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Rippey, John. "Woodblock Sonnets and Floating World : reflections on writing 'Woodblock Sonnets'." Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.656335.

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This essay explores the writing of "Woodblock Sonnets," a poem composed of fifty-six sonnet stanzas. The essay represents a sustained enquiry into this poem's development, from its first inchoate sources and urges, to realization through shape, structure, and artifice. The development of the poem is tracked in five central writing concerns: content, language, form, time, and universality. In each concern, "Woodblock Sonnets" is observed to evolve, over the course of the writing, from more latent and intuitive versions into more manifest and deliberated ones. The poem emerges as creation of inspiration and labor, as both a spontaneously occurring phenomenon and a crafted object. In order to explore the reason of poetry, the accounts of this evolving search for significances are extended into consideration of the advantages which specific poetic practices - image, ekphrasis, rhyme, the sonnet form, and so on - provide a poem. "Woodblock Sonnets" possesses a cross-cultural nature, and the essay explores the poem's unusual fusing of Eastern and Western idioms and sensibilities, as well. "Woodblock Sonnets," the conclusion suggests, takes up the intrinsic interconnectedness of lives - natural and human, past and present, and especially our own lives and those of others, in dimensions that range from the personal to the cultural. The poem demonstrates a primary interest in revealing and interpreting relationships. Poetry, in general, is conceived as an opportunity for fusing the figurative and literal.
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Ardizzone, Nicholas. "Edward Ardizzone R.A. 1900-1979 : commissioned works of the Second World War." Thesis, Royal College of Art, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361570.

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Cuzman, Miruna Sinziana. "Trench modernism : William Orpen's career as war artist." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25698.

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In response to growing German propaganda during the First World War, the British Government formed a special Propaganda Department, which used visual art as a means of boosting up the morale of civilians and British soldiers on the Front. The War Artists‟ Scheme brought into being under the auspices of the Propaganda Department in 1914 allowed some of the most promising British artists to produce memorable paintings. The works documented the numerous sites of the Western and Eastern Front. In addition, the artists employed under the scheme presented the nation with portraits of notable military and political figures engaged in the war effort. This thesis investigates how William Orpen, an established society portraitist and A.R.A., fits into the War Artists‟ Scheme. His position was problematic: as a painter working in an early twentieth-century descriptive vein and older than other artists at the Front, how did he fare in this troubled context? Orpen‟s work on the Western Front (France and Flanders) has been so far neglected and considered to be of little relevance in comparison to what other avant-garde artists produced during the same time span. The thesis investigates how Orpen, although painting in an early twentieth-century representational style considered slightly passé, embedded in his works innovative means of expression, creating vivid, haunting imagery, adding to a body of work which was supposed to be documentary a depth reminiscent of ecclesiastic artistic practice. The thesis attempts to re-evaluate Orpen‟s war oeuvre, an aspect of the artist‟s rich imagery hitherto left to oblivion.
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Books on the topic "The Artist of the Floating World"

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Ishiguro, Kazuo. An artist of the floating world. Chivers Press, 2001.

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Ishiguro, Kazuo. An artist of the floating world. Faber, 2001.

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Ishiguro, Kazuo. An artist of the floating world. Faber & Faber, 1987.

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Ishiguro, Kazuo. An artist of the floating world. Putnam's, 1986.

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Ishiguro, Kazuo. An artist of the floating world. Vintage Books, 1989.

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Ishiguro, Kazuo. An artist of the floating world. Faber and Faber, 1986.

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1944-, Bognár Botond, ed. Hiroshi Hara: The 'floating world' of his architecture. Wiley-Academy, 2001.

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Nishimura, Morse Anne, Asano Shūgō 1950-, and Museum of Fine Arts, Boston., eds. Drama and desire: Japanese paintings from the floating world, 1690-1850. MFA Publications, 2007.

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Nishimura, Morse Anne, Asano Shūgō 1950-, and Museum of Fine Arts, Boston., eds. Drama and desire: Japanese paintings from the floating world, 1690-1850. Museum of Fine Arts, 2007.

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(Firm), Sebastian Izzard LLC, ed. Early images from the floating world: Japanese paintings, prints and illustrated books, 1660-1720. Sebastian Izzard, 2008.

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Book chapters on the topic "The Artist of the Floating World"

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Maack, Annegret. "Ishiguro, Kazuo: An Artist of the Floating World." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8805-1.

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Beedham, Matthew. "A Troubled Artist’s Art: An Artist of the Floating World (1987)." In The Novels of Kazuo Ishiguro. Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-08062-2_3.

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Sugano, Motoko. "‘Putting One’s Convictions to the Test’: Kazuo Ishiguro’s An Artist of the Floating World in Japan." In Kazuo Ishiguro. Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34526-3_6.

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Shin, Kunio. "‘The Shame of Being on the Wrong Side of History’: Defeat and the Failures of Masculinities in An Artist of the Floating World and The Remains of the Day." In Japanese Perspectives on Kazuo Ishiguro. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-24998-3_7.

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Novielli, Maria Roberta. "A New World." In Floating Worlds. CRC Press, 2018. http://dx.doi.org/10.1201/b22500-3.

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Slimbach, Richard. "The Global Artist." In The Art of World Learning. Routledge, 2023. http://dx.doi.org/10.4324/9781003447597-4.

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Hine, Hank. "The world of the Book: A World for the Book." In Making Artist Books Today, edited by Wulf D. von Lucius and Gunnar Kaldewey. De Gruyter, 1998. http://dx.doi.org/10.1515/9783110504286-002.

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Agapov, Mikhail G. "Ice roads and floating shops." In The Siberian World. Routledge, 2023. http://dx.doi.org/10.4324/9780429354663-34.

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Rossen, Janice. "The Artist as Observer." In The World of Barbara Pym. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18868-0_7.

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Brennan, Timothy. "The Artist as Demagogue." In Salman Rushdie and the Third World. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20079-5_5.

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Conference papers on the topic "The Artist of the Floating World"

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Santucci, Raymond, Alex Johnson, Sheri Stanke, and Christine Sanders. "Accelerated Field Corrosion Assessment of Barge-Bridge Materials in Atmospheric and Full Immersion Conditions." In CONFERENCE 2025. AMPP, 2025. https://doi.org/10.5006/c2025-00268.

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Abstract There are often situations in which modular infrastructure must be deployed in response to some disaster or tactical military need. Recently, the Francis Scott Key Bridge collapse and the Gaza floating pier construction, both in the Spring of 2024, come to mind. The United States Department of Defense is investigating the merits of implementing certain types of modular bridge designs for use in real service environments. The bridge can be built “dry” to span features on the land or “wet” to span bodies of water. The structural bridge material can potentially be exposed to a range of climates (temperate, tropical, desert, artic, etc.) and in the case of “wet” installation, the floating support barges can be exposed to a range of natural waters (fresh, brackish, salt, riverine, bay, lake, etc.). Ambient and accelerated corrosion testing of various barge-bridge components was conducted to estimate the performance and corrosion response of the system in a variety of conditions. Atmospheric and marine corrosion testing was conducted at the Naval Research Laboratory facility in Key West. Previous comparative studies will enable the results obtained at Key West to be extended to a variety of other exposure sites around the world.
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Hsu, Shu-Cheng, Chih-Hao Chuang, Hong-Yi Chien, and Ching-Chen Hsu. "Non-Contact Floating Buttons in Post-Pandemic World." In 2024 International Conference on Consumer Electronics - Taiwan (ICCE-Taiwan). IEEE, 2024. http://dx.doi.org/10.1109/icce-taiwan62264.2024.10674507.

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Gotea, Mihaela. "�HOW DO I CONSTRUCT MY IDENTITY AS AN ARTIST?� THE USE OF STORYTELLING IN ARTIST�S ENDEAVOURS DURING A GLOBAL PANDEMIC." In 11th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscss.2024/vs07/40.

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During the COVID-19 pandemic, the arts played an important role for people while coping during lockdown and other severe social restrictions. This presentation introduces a work in progress, where the researcher conducts a self-observation of herself as an artist by constructing a brand personality through storytelling on social media. Data consisted of weekly YouTube videos during a 20-week period, followed with diary entries and self-reflections and reactions of followers (YouTube, Instagram and Facebook). Each episode had a specific theme where I intertwined stories from my own childhood, background and surroundings, values, and world views with timelapse videos of the creative process of working on a painting (from the beginning to the end). Furthermore, during the period, the total of three art exhibitions were promoted with good results. Primary findings indicate that the videos and the narrative evolved from the traditional documentary style to the sharper, almost TikTok like formats, where the emphasis on the timelapse of the creative process seemed to be the element that the followers preferred (as well as the researcher). The narrative part of the study helped the artist to gain footing in identifying her inner core as an artist; to go straight to the roots and work through her childhood trauma and reconciliation. As previously indicated, this is a work in progress and during this presentation, the audience will get an insight into the narrative and creative process of the artist.
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J, Sujithra, Padma U, and Abinaya J. "Aquacleaner – An AI Enabled Robotic Trash Boat to Collect Floating Trash." In 2024 International Conference on Integration of Emerging Technologies for the Digital World (ICIETDW). IEEE, 2024. https://doi.org/10.1109/icietdw61607.2024.10941247.

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Kim, Soomin, Youchan Hwang, Jeong-Gon Kim, Ho-Kyung Kim, and Chungkuk Jin. "Development of Time-domain Aero-hydrodynamic Coupled Analysis Module by ABAQUS User Subroutine for Floating Bridges." In IABSE Congress, San José 2024: Beyond Structural Engineering in a Changing World. International Association for Bridge and Structural Engineering (IABSE), 2024. https://doi.org/10.2749/sanjose.2024.0915.

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&lt;p&gt;A floating bridge differs from conventional bridges in that both wind and wave loads act as primary dynamic loads. The nonlinear interaction between the floating body's hydrodynamic response and the bridge deck's aeroelastic response can significantly affect the entire system. However, existing commercial software lacks the capability to perform fully coupled aero-hydrodynamic analysis. Therefore, this study introduces a time-domain aero-hydrodynamic coupled analysis module for floating structures implemented through the ABAQUS User Subroutine. Validation of the developed method was achieved by comparing the response spectrum and RMS obtained from frequency- domain analysis. The developed time-domain aero-hydrodynamic analysis method enables potential possibility in future research, particularly for coupled aero-hydrodynamic analysis of long- span floating bridges.&lt;/p&gt;
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Choi, Sun Young. "Floating World." In Innovate to Elevate. Iowa State University Digital Press, 2022. http://dx.doi.org/10.31274/itaa.15786.

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Fedaeff, Nick. "Stories by a traveling artist - "Man of the world"." In 4th International Transdisciplinary Scientific and Practical WEB-Conference "Connect-Universum – 2018". Tomsk State University, 2019. http://dx.doi.org/10.17223/9785946218597/44.

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Koltsova, N. "ON THE QUESTION OF THE SYMBOLISM OF THE VELD IN RUSSIAN PROSE OF THE FIRST THIRD OF THE TWENTIETH CENTURY (USING THE EXAMPLE OF THE STORIES OF PLATONOV AND PRISHVIN)." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3707.rus_lit_20-21/122-125.

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The article is devoted to the study the features of “spatial form” in the stories of M. Prishvin and A. Platonov. The space itself acts as a hero in them, while the central character (or characters) are interesting to the author rather as a focus of perception. The shift of emphasis from a person to “thinking matter”, or “the substance of existence” (Platonov), predetermines a change in all levels of artistic structure - from the organization of the plot, which is relegated to the background or is completely absent, to types of psychologism, often taking the form of “anti-psychologism”. The “floating point of view” of Platonov’s later stories evokes associations with the cinematic technique of the wandering camera, or “subjective camera.” In Prishvin’s story, the effect of “depersonalization” is achieved by updating the traditional technique of duality: the black Arab is the shadow of the hero, declaring itself before the latter appears and remaining in the story (and in the desert world) after him. Despite the fact that national exoticism predominates in Prishvin’s story, it, introducing the reader to the world of oriental legends and culture in general, does not cancel the Russian “prehistory” of Prishvin’s method, prepared both by the traditions of Russian classical literature of the 19-th century and by the discoveries of neorealism of the 20-th century.
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Palmer, Sean, and Kendall Litaker. "Artist friendly level-of-detail in a fur-filled world." In SIGGRAPH '16: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2016. http://dx.doi.org/10.1145/2897839.2927466.

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Nakata, Kazuyuki, Maya Seki, Ryoichi Nishikawa, Soju Matsumoto, Shinichiro Murakami, and Yukio Yoshino. "Artist-Centric HMI Software Development Tool for Reconfigurable Instrument Clusters: Integration with Model-Based Development Tool." In SAE 2015 World Congress & Exhibition. SAE International, 2015. http://dx.doi.org/10.4271/2015-01-0169.

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Reports on the topic "The Artist of the Floating World"

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Borders, Elizabeth. Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.188.

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Williams, Thomas. Cell Life Cycles Top Trumps: Deluxe. University of Dundee, 2023. http://dx.doi.org/10.20933/100001285.

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All living things from whole people to single cells and even viruses have life cycles. Explore the weird and wonderful world of life cycles at the level of the cell in this top trumps inspired game. Print and cut out the cards, then play anywhere you want! The deluxe edition contains fantastic new artwork from artist Emily Gullberg. Great for 2-3 people age 6+, lasts around 10 mins per game.
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Gratzke, Michael. ‘Confessions of a MILF (I chose being an artist over being a wife)’. Love and relationships in Viv Albertine’s memoirs. University of Dundee, 2022. http://dx.doi.org/10.20933/100001240.

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The memoirs of (post-) punk musician Viv Albertine address the issue of choice or lack thereof in romantic and family relationships. They depict a world in which choice of romantic partners appears normal if often unsuccessful, whereas choice within family relationships is restricted. It is self-evident that one cannot choose one’s blood relatives. However, amplified by Albertine’s scepticism towards any social relationships, her two memoirs represent ‘negative choice’ (Eva Illouz) in heterosexual romantic relationships and the complex ways in which negative choice can change family dynamics. In her memoirs, Albertine presents loneliness as the opposite of love which aligns with her model of choice, as it is preferable to live a lonely life over being bound up in love relationships, romantic or familial, which are harmful to one’s wellbeing. This article demonstrates how the ethos of early punk is translated into an uncompromising process of life writing which presents itself as faithfulness towards the individual’s core need for self-realisation and self-expression against the backdrop of failing romantic and familial relationships, severe physical and mental health problems, a self-diagnosis of autism and a patriarchal society.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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