Academic literature on the topic 'Write art'

Seth Siegelaub (1941, New York-2013, Bâle) est une figure majeure, connue des historiens de l’art pour avoir de manière séminale renouvelé les modalités d’exposition, de présentation et de distribution des œuvres conceptuelles. La carrière de celui qui a été considéré comme l’impresario zélé de quatre artistes (Robert Barry, Joseph Kosuth, Douglas Huebler [1924-1997], Lawrence Weiner) ne s’arrête pas en 1972, date qui marque son départ de l’art et qui aurait confirmé l’« échec » des luttes politiques d’une génération. Le dropout de Siegelaub – se revendiquant comme « not an artist » mais opérant au cœur du dispositif – serait-il une reconversion des savoir-agir conceptuels ?L’approche anthropologique de l’écrit dans lequel Siegelaub est puissamment investi permet de suivre un parcours de vie séquencé en trois « sphères d’activité » : l’art, le militantisme et l’érudition. Des entretiens avec notre personnage principal ainsi qu’avec ses collaborateurs, la consultation de l’ensemble de son fonds et des projets de valorisation nous ont permis d’en analyser les enjeux respectifs. La première sphère nous amène à découvrir l’art conceptuel comme une littératie qui étend de manière inédite les usages quotidiens de l’écrit. La deuxième fait émerger le centre de documentation militant comme forme politique de résistance au capitalisme et de transformation sociale. La troisième, par un intérêt parallèle pour le textile, révèle une appropriation personnelle de la bibliographie. Siegelaub ne change pas du tout au tout d’activité mais se déplace entre différents mondes sociaux polarisés en mettant en résonance des pratiques et en construisant des réseaux grâce à l’écrit. En 1969, Siegelaub affirme : « Je ne suis pas un écrivain – je n’écris jamais, j’agis ». Son rapport à l’écrit est complexe, alors même qu’il n’a presque rien « écrit », au sens littéraire, théorique ou journalistique où on l’entend généralement. Qu’a fait Siegelaub avec l’écrit ? Dans quelle mesure les écrits ont-ils permis à cet editor, publisher, documentaliste, bibliographe et collectionneur d’agir ? Il a multiplié les écrits typiques comme le catalogue-exposition, le contrat ainsi que la bibliographie et, dans certains cas, en a renversé les usages à 180 degrés. Le parcours de Siegelaub touche à des enjeux théoriques puisque chaque domaine où il a été actif a produit un point de vue « local ». Les artistes conceptuels se sont intéressés au langage et ont utilisé le document pour tenir des positions critiques par rapport aux œuvres ; Armand Mattelart, chercheur critique ayant collaboré avec Siegelaub, a montré que les médias jouent un rôle essentiel dans la lutte des classes ; le savant graphomane François-Xavier Michel (1809-1897) a été précurseur d’une approche sociale de l’histoire des textiles. Le parcours de Siegelaub permet de considérer ensemble des idées sur l’écrit qui s’élaborent dans différentes disciplines et qui n’ont jamais été pensées dans leurs articulations<br>Seth Siegelaub (1941, New York–2013, Basel) is a major figure in the history of art known to scholars for his seminal role in the exhibition, presentation and distribution of Conceptual Art. Often described as the shrewd impresario of four artists (Robert Barry, Joseph Kosuth, Douglas Huebler and Lawrence Weiner), his career seems to stop in 1972 when he turns his back on the art world, thereby seemingly confirming the failure of the political struggle of a whole generation. But what if this dropout—by a man who claimed he was “not an artist,” yet operated at the heart of the system—coincided with a translation of the conceptual methodology into other fields?An anthropological approach of Siegelaub’s expansive and varied writing activities allows us to retrace his career according to three “spheres of activity”: art, activism, and erudition. By conducting numerous interviews with the main protagonist and his collaborators, and consulting his extensive archives, we have been able to explore the key issues respective to each of these spheres. Siegelaub’s first sphere of activity encourages us to consider Conceptual Art as a literacy that expanded the everyday uses of writing in a hitherto unprecedented way. The second sphere shows the documentation center as a means of political resistance to capitalism and social transformation, and the third, via its parallel interest in textiles, reveals Siegelaub’s personal appropriation of the bibliography. Siegelaub does not so much change activities as move between polarized social worlds, whose practices and networks he interconnects via his writing.In 1969, he stated: “I am not a writer—I never write, I just do.” His relationship to writing is complex, all the more so as he has hardly “written” in the literal, theoretical, or journalistic sense. What did Siegelaub do with writing? To what extent did it enable the editor, publisher, documentalist, bibliographer and collector to act? Siegelaub experimented with various kinds of writings such as the exhibition-as-catalogue, the contract, or the bibliography, in some cases even reversing their purpose or function. His career touched on numerous theoretical problems, each domain in which he was active producing a “local” point of view: the Conceptual artists were interested in language and used documents to critique the work of art; Armand Mattelart, a leading sociologist who collaborated with Siegelaub, clarified the role of mass media in class struggles; and the nineteenth-century erudite scholar François-Xavier Michel pioneered a social approach to the history of textiles. Siegelaub’s career makes it possible to bring together various conceptions of writing developed across different disciplines, which had never been considered in terms of their reciprocal influences

Artificial light surrounds us in a manifold of shapes. It is mainly utilized for illumination, but also for graphical communication of complex and evolving messages and information, among other things. It can be generated in different ways with incandescent lamps and fluorescent tubes constituting two common examples. Organic solid state light-generation technologies, which boast advantages such as solution processability, thin and flexible form factors, and large versatility, are modern additions to the field. But regardless of the means of generation, whenever light is to be used to communicate information, as signage or displays, it needs to be patterned. Unfortunately patterning is often complicated and expensive from a fabrication point of view, or renders the devices inefficient. To bridge the gap between present technologies and the need for low-cost and low-complexity patterned light emitters, it is important to develop new device architectures and/or fabrication procedures. In this thesis we show that patterned light emission can be attained from solution processable bilayer light-emitting electrochemical cells (LECs), in which the bilayer stack comprises an electrolyte and an organic semiconductor as the first and second layer, respectively. We investigate a subtractive direct-write approach, in which electrolyte is displaced and patterned by the contact motion of a thin stylus, as well as an additive inkjet-patterning technique. Both result in electroluminescent patterns, e.g., light-emitting sketches and microscopic signage with high pixel density. But they can also build macroscopic patterned regions with homogeneous emission depending on the design of electrolyte features. Using an in-operando optical microscopy study we have investigated the operational physics and some limiting factors of the bilayer LECs. More specifically we find that the electrolyte film homogeneity is a key property for high optical quality, and that the emitting region is defined by the location of the interfaces between electrolyte, anode, and organic semiconductor. We observe that the cationic diffusion length is less than one micrometer in our employed organic semiconductors, and rationalize the localized emission by cationic electric double-layer formation at the cathode, and the electronically insulating electrolyte at the anode. To date, the presented luminescent signage devices feature high-resolution patterns, in both pixelated and line-art form, and show great robustness in terms of fabrication and material compatibility. Being LECs, they have the potential for truly low-cost solution processing, which opens up for new applications and implementations. However, these first reports on patterned bilayer LECs leave plenty of room for improvements of the optical and electronic characteristics. For instance, if the optoelectronic properties of the devices were better understood, a rational design of microscopic electrolyte features could provide for both more efficient LECs, and for more homogeneous light emission from the patterned regions.

Mestrado em Biomedicina Farmacêutica<br>Este trabalho apresenta uma experiência de estágio curricular com a duração de 9 meses, desenvolvido na ARC Publishing, uma empresa que opera nos ramos da comunicação e publicação científica. O estágio curricular foi orientado para a área da redação científica, no entanto, atividades em outras áreas, aqui designadas de atividade multidisciplinar, também foram executadas. A atividade multidisciplinar variou desde atividades relacionadas com o desenvolvimento de negócio e marketing até atividades relacionadas com a gestão editorial de revistas científicas. Já as atividades de redação científica incluíram a redação de artigos de investigação original, traduções de documentação relacionada com a investigação clínica, edição de livros e controlo de qualidade de outros tipos de documentação científica. Globalmente, este estágio curricular representou um ótimo complemento à minha formação académica. Tive a oportunidade de aprofundar o meu entendimento acerca dos processos envolvidos na produção e na comunicação de conhecimento médico/científico. Descobri novos tópicos de interesse. E, fiquei com uma visão mais ajustada daquilo que é a realidade do mercado de trabalho e das oportunidades disponíveis. Por fim, a junção destes fatores permitiu-me maturar as minhas perspetivas de desenvolvimento de carreia.<br>The present work reports a 9-month curricular training experience developed at ARC Publishing, a company operating in the fields of medical communication and medical publishing. The training experience was oriented towards the medical writing field, but activities in other fields, here designated as multidisciplinary activity, were also conducted. Multidisciplinary activity ranged from business development and marketing, to editorial management. Whereas medical writing activities included preparation of original research reports, translation of clinical documents, book editing, and quality control of scientific documentation. Overall, this training period was an excellent complement to my academic education. I advanced my understanding of the processes involved in medical knowledge generation and communication. I discovered new topics of interest. And, I also improved my vision of the real marketplace and the opportunities it poses. Lastly, the combination of all these factors, allowed me to mature my perspectives for future career development.

This essay reflects a particular method and way of working that I employ when undertaking artistic research. My artworks are rooted and develop from the situation I find myself in as an artist, the very context I exhibit the work within. I do this by trying to understand this position, both on the micro and macro scale. As an artist currently studying at—and subsequently exhibiting in relation to— Konstfack, I base my research with the physical manifestation of the school. An imposing building that was part of a huge headquarters and factory site for the telecommunication company, Ericsson, in south Stockholm. The title of my essay is from the translation of a unique German cipher machine, the Geheimschreiber, made known to me through enquiry into this site. Throughout the Second World War the German army used this machine to send highly encrypted military messages across Swedish telephone cables. Following one of the greatest accomplishments in the history of cryptography, a Swedish mathematician broke this German code and subsequently assisted in designing a deciphering machine on behalf of the Swedish Intelligence branch. This device, known as the App, was secretly developed and manufactured by Ericsson, possibly where I now study. In exploring the theme of secrets, this essay originates from an underpinning desire and subject of my work to reveal what is concealed or overlooked. Through researching and writing this essay I attempt to have a better understanding on the notion of secrets, in both the private and public realms. Introducing the artistic process and situation I am working from, I explore the central role that secrets play within society. In order to understand secrecy today I introduce the intertwined and associated contemporary debates of privacy, (both private and public) and transparency through such subjects as Google’s new privacy policy, mobile phone hacking, WikiLeaks and offshore banking.