British art librarianship today and tomorrow

1994 ◽  
Vol 19 (3) ◽  
pp. 20-26
Author(s):  
Jan van der Wateren
Keyword(s):  
Visual Arts ◽  
British Library ◽  
Present Position ◽  
25Th Anniversary ◽  
British Art ◽  
Active Player ◽  
Specialist Services ◽  
The Uk ◽  
The Relationship ◽  
Subject Specialist

The National Art Library (NAL) has moved from its former isolation, through the developments of the last decade, to its present position as a focus for and active player in the art library and information community of the UK. The NAL has worked with ARLIS on some of the major co-operative ventures currently preoccupying the art library field. However, there is still a need for further clarification of, and support for, subject specialist services in the national arena, not least the relationship with the British Library. The potential of the proposed Library Commission and Visual Arts Library and Information Plan is still to be realised. Art librarians must work with their users in formulating a more radical and visionary view of their objectives, as they face the challenges of the future.This article is a revised version of a paper delivered to the 25th Anniversary Conference of ARLIS/UK & Ireland, London, 7th-10th April 1994.

Making the vision work

1994 ◽  
Vol 19 (3) ◽  
pp. 13-17
Author(s):  
Gillian Varley
Keyword(s):  
Visual Arts ◽  
New Technologies ◽  
25Th Anniversary ◽  
Art Design ◽  
The Uk ◽  
Relationship Of ◽  
Victoria And Albert Museum ◽  
The Relationship ◽  
New Strategies

How has the vision of the pioneers of ARLIS translated into the activities and achievements of the Society and its members in the present? The relationship of ARLIS and the National Art Library at the Victoria and Albert Museum has radically improved; collaborative projects in the areas of periodicals, slides and exhibition catalogues have yielded fruits in the form of union lists, surveys and directories; the longstanding Directory of members has been joined by a new directory documenting art, design and architecture resources in the UK and Ireland. However, as the Follett Report shows, the demands on libraries in the UK are heavier than ever before and will continue to increase, meaning that libraries will have to find new strategies to keep abreast of demand and take advantage of the new technologies. ARLIS should broaden its membership and may be able to achieve some of its long-term goals through the Visual Arts Library and Information Plan.This article is a revised version of a paper delivered to the 25th Anniversary Conference of ARLIS/UK & Ireland, London, 7th-10th April 1994.

scholarly journals Specialist alcohol inpatient treatment admissions and non-specialist hospital admissions for alcohol withdrawal in England: an inverse relationship

2020 ◽  
Vol 56 (1) ◽  
pp. 28-33
Author(s):  
Thomas Phillips ◽  
Chao Huang ◽  
Emmert Roberts ◽  
Colin Drummond
Keyword(s):  
Alcohol Withdrawal ◽  
Hospital Admissions ◽  
Significant Negative Correlation ◽  
Data Sets ◽  
Complex Needs ◽  
Specialist Services ◽  
Health And Social Care ◽  
Specialist Treatment ◽  
The Uk ◽  
The Relationship

ABSTRACT Aims We assessed the relationship between specialist and non-specialist admissions for alcohol withdrawal since the introduction of the UK government Health and Social Care Act in 2012. Methods Using publicly available national data sets from 2009 to 2019, we compared the number of alcohol withdrawal admissions and estimated costs in specialist and non-specialist treatment settings. Results A significant negative correlation providing strong evidence of an association was observed between the fall in specialist and rise in non-specialist admissions. Significant cost reductions within specialist services were displaced to non-specialist settings. Conclusions The shift in demand from specialist to non-specialist alcohol admissions due to policy changes in England should be reversed by specialist workforce investment to improve outcomes. In the meantime, non-specialist services and staff must be resourced and equipped to meet the complex needs of these service users.

Beyond the gossip shop

1994 ◽  
Vol 19 (3) ◽  
pp. 8-12 ◽  
Author(s):  
Trevor Fawcett
Keyword(s):  
25Th Anniversary ◽  
Active Participant ◽  
Art And Design ◽  
British Art ◽  
The World ◽  
Subject Specialist

Arlis arose in the late 1960s out of the need for British art and design librarians to have a specialist organisation to support their emerging professional concerns. The Society was independent from other library bodies and has remained so. From its original modest aim of ‘promoting art librarianship’ it has become a force for redefining this subject specialist area and creating international links, especially with sister organisations across the world; from ‘gossip shop’ for domestic concerns to an active participant in the IFLA Section of Art Libraries. The Art Libraries Journal has been the principal vehicle for promulgating this concern. ARLIS/UK & Ireland can look forward to extending its role and pursuing its activities with vigour in the next 25 years.This article is a slightly revised version of a paper delivered to the 25th Anniversary Conference of ARLIS/UK & Ireland, London, 7th-10th April 1994.

scholarly journals Art Cinema and The Arbor: Tape-recorded Testimony, Film Art and Feminism

2016 ◽  
Vol 13 (2) ◽  
pp. 278-291 ◽  
Author(s):  
Beth Johnson
Keyword(s):  
Visual Arts ◽  
Digital Imaging ◽  
Feminist Art ◽  
Art Cinema ◽  
Site Specific ◽  
Specific Location ◽  
British Art ◽  
Award Winning ◽  
Lip Sync ◽  
The Relationship

In this article I discuss the award-winning work of artist and film-maker Clio Barnard, specifically focusing on her 2010 docu-fiction film The Arbor. Analysing the verbatim techniques so central to the film (techniques that originated in theatre), this article suggests that Barnard's visual arts background inspired and informed her textual mixing of verbatim, lip-sync, re-enactment and digital imaging, the result of which is a radical and feminist art-film. Focusing on the site-specific location of The Arbor as well as the significance of emotional, textual and temporal layering, this article also suggests that while Barnard's work seeks, on the surface, to question the relationship between representation and the real in the genre of documentary, The Arbor also provokes and invites a radical reimagining of the hitherto male-dominated legacy of British art cinema by bringing the voices and visions of women, past and present, into the contemporary frame.

Thromboplastin Related Differences in the Determination of International Normalised Ratio: A Cause for Concern?

1994 ◽  
Vol 72 (03) ◽  
pp. 426-429 ◽  
Author(s):  
S Kitchen ◽  
I D Walker ◽  
T A L Woods ◽  
F E Preston
Keyword(s):  
Patient Management ◽  
External Quality Assessment ◽  
Oral Anticoagulant Therapy ◽  
Warfarin Dosage ◽  
External Quality ◽  
External Quality Assessment Scheme ◽  
International Normalised Ratio ◽  
The Uk ◽  
The Relationship

SummaryWhen the International Normalised Ratio (INR) is used for control of oral anticoagulant therapy the same result should be obtained irrespective of the laboratory reagent used. However, in the UK National External Quality Assessment Scheme (NEQAS) for Blood Coagulation INRs determined using different reagents have been significantly different.For 18 NEQAS samples Manchester Reagent (MR) was associated with significantly lower INRs than those obtained using Diagen Activated (DA, p = 0.0004) or Instrumentation Laboratory PT-Fib HS (IL, p = 0.0001). Mean INRs for this group were 3.15, 3.61, and 3.65 for MR, DA, and IL respectively. For 61 fresh samples from warfarin-ised patients with INRs of greater than 3.0 the relationship between thromboplastins in respect of INR was similar to that observed for NEQAS data. Thus INRs obtained with MR were significantly lower than with DA or IL (p <0.0001). Mean INRs for this group were 4.01, 4.40, and 4.59 for MR, DA, and IL respectively.We conclude that the differences between INRs measured with the thromboplastins studied here are sufficiently great to influence patient management through warfarin dosage schedules, particularly in the upper therapeutic range of INR. There is clearly a need to address the issues responsible for the observed discrepancies.

Researching (with) Major Food Retailers

2015 ◽  
Vol 15 (3) ◽  
pp. 33-39 ◽  
Author(s):  
David Evans
Keyword(s):  
Food Systems ◽  
Academic Research ◽  
Social Scientists ◽  
Major Food ◽  
Food Retailers ◽  
Food Retailer ◽  
The One ◽  
The Uk ◽  
The Relationship ◽  
Opening Up

This paper considers the relationship between social science and the food industry, and it suggests that collaboration can be intellectually productive and morally rewarding. It explores the middle ground that exists between paid consultancy models of collaboration on the one hand and a principled stance of nonengagement on the other. Drawing on recent experiences of researching with a major food retailer in the UK, I discuss the ways in which collaborating with retailers can open up opportunities for accessing data that might not otherwise be available to social scientists. Additionally, I put forward the argument that researchers with an interest in the sustainability—ecological or otherwise—of food systems, especially those of a critical persuasion, ought to be empirically engaging with food businesses. I suggest that this is important in terms of generating better understandings of the objectionable arrangements that they seek to critique, and in terms of opening up conduits through which to affect positive changes. Cutting across these points is the claim that while resistance to commercial engagement might be misguided, it is nevertheless important to acknowledge the power-geometries of collaboration and to find ways of leveling and/or leveraging them. To conclude, I suggest that universities have an important institutional role to play in defining the terms of engagement as well as maintaining the boundaries between scholarship and consultancy—a line that can otherwise become quite fuzzy when the worlds of commerce and academic research collide.

Archaeologists and the Dead

2016 ◽  
Keyword(s):  
Historical Context ◽  
Ethical Considerations ◽  
International Context ◽  
The Public ◽  
The Us ◽  
The Dead ◽  
The Many ◽  
The Uk ◽  
The Relationship ◽  
Experience Effect

This volume addresses the relationship between archaeologists and the dead, through the many dimensions of their relationships: in the field (through practical and legal issues), in the lab (through their analysis and interpretation), and in their written, visual and exhibitionary practice--disseminated to a variety of academic and public audiences. Written from a variety of perspectives, its authors address the experience, effect, ethical considerations, and cultural politics of working with mortuary archaeology. Whilst some papers reflect institutional or organizational approaches, others are more personal in their view: creating exciting and frank insights into contemporary issues that have hitherto often remained "unspoken" among the discipline. Reframing funerary archaeologists as "death-workers" of a kind, the contributors reflect on their own experience to provide both guidance and inspiration to future practitioners, arguing strongly that we have a central role to play in engaging the public with themes of mortality and commemoration, through the lens of the past. Spurred by the recent debates in the UK, papers from Scandinavia, Austria, Italy, the US, and the mid-Atlantic, frame these issues within a much wider international context that highlights the importance of cultural and historical context in which this work takes place.

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

scholarly journals The labour of place: Memory and extended reality (XR) in migration museums

2021 ◽  
Vol 14 (3) ◽  
pp. 606-621
Author(s):  
Anna Reading ◽  
Jim Bjork ◽  
Jack Hanlon ◽  
Neil Jakeman
Keyword(s):  
Web 2.0 ◽  
Innovative Approach ◽  
Place Making ◽  
Place Memory ◽  
Museum Exhibitions ◽  
Global Mapping ◽  
The Uk ◽  
The Relationship

How do we understand the relationship between memory and place in the context of Extended Reality (XR) migration museum exhibitions? The study combines a global mapping of XR within migration museums, a user analysis of Cologne’s virtual migration museum, and practice-led research with the UK Migration Museum to argue that XR places in Web 2.0 constitute a multiplication of memory’s significant localities. These include a migration memory’s place of beginning (the location of a migrant experience), the place of production (where the memory is transformed into representation) and the place of consumption (where the mediated memory is engaged with, looked at, heard). Mnemonic labour involving digital frictions at each of these sites constitutes a form of multiple place-making with complex feelings, meanings, and (dis)connections. This points to an innovative approach to understanding and curating XR experiences with museums that recognises the significance of the labour of place.

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