Eija-Liisa Ahtila: Parasol Unit, London

The article reviews the exhibition "Eija-Liisa Ahtila" at the Parasol unit Foundation of Contemporary Art in London, England from February 26, 2010 to April 25, 2010

James Coupe: today, too, I experienced something I hope to understand in a few days

Exhibition review article

CAN DO: Photographs and other material from the Women's Art Library Magazine Archive

Curated by Mo Throp and Maria Walsh, this collection of mainly black and white photographs from the Women’s Art Library Magazine archive has rarely been seen outside the confines of its black boxes in the Special Collections at Goldsmiths University library. The photographs are one of the material remains of a dynamic independent art publication dedicated to the debates and documentation of women’s art from 1983 to 2002. The magazine began life in 1983 as the Women Artists Slide Library Newsletter, acquiring, over the course of its 20-year run, the titles: Women Artists Slide Library Journal (1986); Women's Art Magazine (1990); and make: the magazine of women’s art (1996). Artists submitted photographs of their work for publication, some images were printed in the magazine, most were not, but all were carefully stored in the library stacks at Goldsmiths where the curators were (re)introduced to them by Althea Greenan, curator of the Women's Art Library in Special Collections at Goldsmiths as they researched material for their recent book, Twenty Years of MAKE Magazine: Back to the Future of Women’s Art (I.B. Tauris: 2015). Taking this photographic h(er)story out of the archive, this exhibition speaks to a present fascination with women’s art of the recent past. What memories, what future can be intimated from these photographic fossils? As well as the photographs, which have been organised into thematic sections entitled: Performance, Portraits, Body, Installation, Protest, the exhibition is comprised of other materials from the archive, including artist’s originals commissioned for the covers and pre-digital layouts and includes a vitrine of objects from the collection selected by Althea Greenan. Source: http://www.chelseaspace.org/archive/can-do-info.htm

A new veto for continuous gravitational wave searches

We present a new veto procedure to distinguish between continuous gravitational wave (CW) signals and the detector artifacts that can mimic their behavior. The veto procedure exploits the fact that a long-lasting coherent disturbance is less likely than a real signal to exhibit a Doppler modulation of astrophysical origin. Therefore, in the presence of an outlier from a search, we perform a multi-step search around the frequency of the outlier with the Doppler modulation turned off (DM-off), and compare these results with the results from the original (DM-on) search. If the results from the DM-off search are more significant than those from the DM-on search, the outlier is most likely due to an artifact rather than a signal. We tune the veto procedure so that it has a very low false dismissal rate. With this veto, we are able to identify as coherent disturbances >99.9% of the 6349 candidates from the recent all-sky low-frequency Einstein@Home search on the data from the Advanced LIGO O1 observing run [1]. We present the details of each identified disturbance in the Appendix.Comment: 10 pages, 6 figures, 2 table

Indentity-in-motion : the narrative duration of the dis/continous film moment

The trajectorv of this thesis is set out like a journey upon which encounters are staged between two films. film theor), and philosophers. such as Slavoj Zizek. Gilles Deletize, and Maurice Merleau-Ponty. An encounter with a moment of image suspension. a cut to the blank screen- in Tacita Dean's film, Disappearance atSea (1996). motivates the beginning of this journey's narrative. My reading of this moment counters the way that suspended film moments have been discussed in terms of non-narrative in 1970s film theory and in the contemporary psychoanalýlic filin theory of Slavoj Zizek. Using Gilles Deleuze's notion of narrativization as a process of serialization. I argue that the supposedly non-narrative moment is coextensive with the spectator's dis/continuity in time as opposed to Slavoj Zizek's static suspension or film theory's distanciation. A performative text based on Disappearance at Sea, which I refer to as a 'montage text' and for which precedence is found in Roland Barthes' writing, acts as an interlude that runs in tandem to the main theoretical trajectory. The generativity of absence that emerges from these encounters, both theoretical and poetic. is heightened in the second half of the thesis by the appearance of another 'montage text' based on Chantal Akerrnan's News From Home (1976). In this text. I reconfigure the negativity of historical readings of absence in Neus From Home where it was related to the impossible question of a woman's desire. In my reconfiguration, absence. rather than suspending time. generates a temporalized space and a spatialized time in which the spectator performs the dis/continuity of narrative duration. In the theoretical trajectory of this movement, Gilles Deleuze is hybridized with aspects of Merleau-Ponty's phenomenology, my argument being that the sublime infinity of Deleuzian serialization requires a relation to embodiment in order for it to be useftil in considering the spectator's relation to the two film encounters with absence. I read this hybridization in terms of a feminine mode of the sublime, which suggests the possibility of the real rather than its negation in representation and contributes to current thinking in feminist philosophy, particularly the work of Elizabeth Grosz

Amodal Perception and “la jouissance du voir”: News From Home The Redux Version

In this article, I perform a re-reading of my 2004 article on Chantal Akerman’s News From Home (1976) in which I had deployed a Deleuzian reading of the film that considered its spectatorial effects as a transformative freedom from identity. In this redux version, I persist with this idea but reconsider it in relation to Griselda Pollock’s convincing insistence that Akerman’s work is a journey towards maternal trauma, a position she develops in relation to Akerman’s installation Walking Next to One’s Shoelaces Inside an Empty Fridge (2004). My main methodological approach is Raymond Bellour’s adaptation of psychoanalyst Daniel Stern’s notion of ‘amodal perception’ as a sensory, kinetic modality of spectatorship

Female Solidarity as Uncommodified Value: Lucy Beech’s Cannibals and Rehana Zaman’s Some Women, Other Women and all the Bittermen.

This book chapter offers a close reading of work by British artists Lucy Beech and Rehana Zaman. It argues that their work speak in different ways to the material conditions of women’s immaterial labour in neoliberal capitalism. Introducing their work in a context in which ‘[o]ne of the hallmarks of our neoliberal age is precisely the casting of every human endeavour and activity in entrepreneurial terms’ (Rottenberg 2014), I explore what the groups of female ‘labourers’ that appear in their films might tell us about desire, needs and resistance to being subsumed under capitalist exploitation. I argues that while female empowerment is co-opted by neoliberalism, Beech’s and Zaman’s work oscillate between exposing exploitative commodified values and an uncommodified therapeutic pleasure in group experience

Adaptive clustering procedure for continuous gravitational wave searches

In hierarchical searches for continuous gravitational waves, clustering of candidates is an important postprocessing step because it reduces the number of noise candidates that are followed-up at successive stages [1][7][12]. Previous clustering procedures bundled together nearby candidates ascribing them to the same root cause (be it a signal or a disturbance), based on a predefined cluster volume. In this paper, we present a procedure that adapts the cluster volume to the data itself and checks for consistency of such volume with what is expected from a signal. This significantly improves the noise rejection capabilities at fixed detection threshold, and at fixed computing resources for the follow-up stages, this results in an overall more sensitive search. This new procedure was employed in the first Einstein@Home search on data from the first science run of the advanced LIGO detectors (O1) [11].Comment: 11 pages, 9 figures, 2 tables; v1: initial submission; v2: journal review, copyedited version; v3: fixed typo in Fig