Contemporary Collaboration Research Articles

Franz Boas Refracted Through His Local Collaborators: A Legacy with Implications for Collaborative Archaeologies

Collaborative ethnographies and community-based archaeologies have become more commonplace throughout anthropology in recent decades. Well over a century ago, Franz Boas initiated collaborations with Indigenous community members. Some of his Indigenous collaborators became recognized scholars themselves, such as George Hunt (Tlingit/Kwakwaka’wakw) and William Beynon (Tsimshian). He also involved James Teit, a settler from the Shetlands who married a Nlaka’pamux woman and became an exemplary anthropologist and advocate for Indigenous rights. Here, I will discuss how these close collaborations transformed Boas’s thinking, with ramifications throughout the discipline. In these examples, we find a dialectical interplay whereby Indigenous groups actively sought to use the anthropological medium to their needs; in turn, anthropologists like Boas and Teit recognized the scholarly need for activism to aid Indigenous groups under the constraints of colonial rule. In important ways, however, Boas did not meet the standards that his own ideas set forth. These partnerships from over a century ago still have implications for contemporary collaborations as instructive histories of successes and failures, for both theory in the expansion of interpretative potential and range and for anthropological praxis in the context of settler-colonial relationships.

How Religious Destinations Innovate Tourism Models in Religious Personalization: An Evidence from Contemporary Art-Temple Collaboration

In response to the development of religious personalization, the old marketing strategies of most religious destinations have been unable to effectively promote their popularity in modern times. This article deeply explored how to use contemporary art to design religious destinations comprehensively and proposed an effective solution to enhance the popularity of religious destinations in religious tourism. We established an actor network in religious tourism with qualitative and quantitative analyses and took the Buddhism Yuan-Dao Guanyin Temple in Taiwan as a case analysis. We found temples to be the main actors in religious tourism networks and temple organizations to serve as their spokespersons. The successful obligatory point of passage (OPP) in the network was that “the religious performance of Yuan-Dao Guanyin Temple is a contemporary art style, and every subject who enters the temple field can obtain interests”. This is primarily formulated by the interaction between religion and contemporary art. The results show that adopting a contemporary art style in this case can successfully expand the popularity of the religious destination. Through the actor network model proposed in this paper, it can be used as a strategy for other religious destinations to improve religious tourism.

587 - Surgical outcome of minimally invasive treatment of adrenal masses: Results from an international contemporary collaboration

587 - Surgical outcome of minimally invasive treatment of adrenal masses: Results from an international contemporary collaboration

QCD analysis of non-singlet structure functions at NNLO accuracy, based on the Laplace transform

In this work, using the Laplace transformation technique we present our results for non-singlet quark distributions as well as nucleon structure function $F_2(x,Q^2)$ in unpolarized case at next-to-next-to-leading order (NNLO) QCD accuracy. We shall particularly compare our results for the sets of valence-quark parton distribution functions with the contemporary collaborations like CT14, CT18, MMHT14, MKAM16 and NNPDF. To construct the nucleon structure function we employ the expansion of Jacobi polynomials which is a suitable transform to convert the results of non-singlet structure function from the Laplace $s$-space to Bjorken $x$-space. We shall also consider the contributions of target mass correction as well as the higher twist effects at large-$x$ region for the proton and deuteron structure functions. Our results for the unpolarized quark distribution functions and nucleon structure functions are in good agreement with recent theoretical models and available experimental data.

A Companion to the War Film ed. by Douglas Cunningham and John Nelson (review)

Reviewed by: A Companion to the War Film ed. by Douglas Cunningham and John Nelson J. Davis Winkie Cunningham, Douglas and Nelson, John, eds. A Companion to the War Film. Malden, MA: John Wiley and Sons, 2016. Considered as a whole, editors Douglas A. Cunningham and John C. Nelson's A Companion to the War Film does not have the same coherence of preceding edited volumes on the genre, such as Peter Rollins and John O'Connor's Why We Fought: America's Wars in Film and History. But this book's lack of a constraining theme (beyond "war") is arguably what allowed the editors to collect and curate path-breaking essays that foreshadow new directions for the study of war films. To be fair, Cunningham informally organizes the book into "five areas of interest" in a short introduction: "the war film and history; the historiography of the war film as a genre; race and gender issues in the war film; the war film outside the Anglophonic imagination; and the war film as experienced through alternative media and/or genres" (3-4). But this volume's contribution rests in the chaos–twenty-five excellent essays offering new approaches and new topics in a genre "largely mired in examinations of Hollywood [combat] films on World War II and the Vietnam War" (3). Some of the field's established scholars buttress the collection. Jeanine Basinger reexamines depictions of women in wartime WWII movies, arguing that the era's films "elevated women to the rank of 'female soldier'" and "showed them to behave in the new era," thus making them "equal to [men]" in the movies and real life on the home front (104). Robert Eberwein digs into the intertextuality presented by the use of classic war music with visual representations of war, describing the integrated experience as "the musical, auditory equivalent of a palimpsest" (6). But some of A Companion to the War Film's best contributions come from a diverse set of authors whose home institutions span the globe. Tanine Allison explains how the military's contemporary collaboration with Hollywood producers has helped sci-fi and superhero films supplant traditional war films as the moral heirs to the "good war" tradition. Agnieszka Soltysik Monnet's essay, "Is There Such a Thing as an Anti-War Film?" deconstructs tropes of ostensibly anti-war films, concluding that even "the increased realism, cynicism, and critical dimension of recent war cinema has done little to disenchant and discredit war in our time" (418). Kaustav Bakshi and Ramit Samaddar demonstrate that "a blatant anti-Pakistan rhetoric started to infiltrate Bollywood dramas" following the 1999 Kargil War between the two nations (180), but only because of "the political environment and the demands of the market" (195). Other scholars in the volume break free of the feature film as their subject of analysis. Deborah Jaramillo writes about the HBO miniseries Generation Kill, explaining that it brought the day-to-day struggles of USMC grunts into the intimate spaces of economically privileged HBO subscribers. The miniseries thus "challenged the theretofore [mutually] simplistic conceptualizations of the people who went to war and the people who watched it on television" (306). Leah Shafer uses a viral video of Israeli soldiers dancing to a Ke$ha song to consciously challenge the feature film paradigm of studying war movies. After a visual frame-by-frame analysis of the IDF squad's dance, Shafer declares, "[S]elf-reflexive intertextuality has become the lens through which we are fed images of war as well as the lens that soldiers are using to show us how they are consumed by war themselves" (335). Both Jaramillo and Shafer illuminate a new path forward for war film studies that integrates new considerations of time, place, space, and intertextuality. [End Page 68] Thus this book has much to offer for scholars. As demonstrated, some of its essays offer new approaches for researchers. Others, such as John Garofolo's and John Nelson's respective contributions, would fit well on syllabi that explore the intersection of film and historical memory. Issues of organization notwithstanding, all scholars of war films & film history in general should consult its table of contents and consider...

What Are You Looking At? The Complication of the Male Gaze in Fin de Siècle Cancan and Bob Fosse’s Sweet Charity

ABSTRACT Fin de siècle cancan dancers Jane Avril and Louise Weber (La Goulue) examined alongside the musical dance and song number “Big Spender” from Sweet Charity serve as examples of how decontextualization of images leads to essentializing the subject of the image that gives precedence to a male gaze focus. In analyzing lasting images of each form, not only through a lens of gaze theory, but with an attention to the evolution of concepts within the gaze, specifically John Berger’s Ways of Knowing and Amelia Jones’s Seeing Differently, perspective can be gleaned in approach to interaction with such works. Additionally, application of sociopolitical context bolsters perspective on the lives of the dancers, artists, and our own perception. Depth of interaction with these pieces sheds light on their value in subverting and distorting patriarchal structures that need to be understood and considered in contemporary collaboration with them.

Contributors

Marit Grøtta is Associate Professor of Comparative Literature at the University of Oslo, Norway. Her latest book is Baudelaire’s Media Aesthetics: The Gaze of the Flâneur and 19th-Century Media (Bloomsbury, 2015). Other publications include “Reading/Developing Images: Baudelaire, Benjamin, and the Advent of Photography,” Nineteenth-Century French Studies nr. 1-2 (2012) and “Fotografi og følelser: Om Proust, portrettfotografier og lengselen etter å nå utover seg selv,” Agora: Tidsskrift for filosofisk spekulasjon, nr. 1 (2016), as well as other articles on literature, aesthetics and media culture. Grant Kester is Professor of Art History in the Visual Arts department at the University of California, San Diego and the founding editor of FIELD: A Journal of Socially Engaged Art Criticism. His publications include Art, Activism and Oppositionality: Essays from Afterimage (Duke University Press, 1998), Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004, second edition in 2013), The One and the Many: Contemporary Collaborative Art in a Global Context (Duke University Press, 2011) and Collective Situations: Dialogues in Contemporary Latin American Art 1995-2010, an anthology of writings by art collectives working in Latin America produced in collaboration with Bill Kelley Jr. (Duke University Press, 2017). He is currently completing work on a new book that develops a more detailed theoretical account of dialogical aesthetics. Nicholas Mirzoeff is Professor of Media, Culture and Communication at New York University. Among his many publications are How To See The World (London, 2015) and the forthcoming open-source e-book The Appearance of Black Lives Matter. For more information and bibliography please visit: http://www.nicholasmirzoeff.com/bio/ Kasper Opstrup is a writer and researcher of radical culture, specialising in concatenations of art/literature, radical politics, and occultism as counter- culture and underground phenomena. Currently he is working on a postdoc project at the University of Copenhagen, supported by the Novo Nordisk Foundation, that examines aesthetic undercurrents of mystical utopianism from surrealism to the

On a not so chance encounter of neurophilosophy and science studies in a sleep laboratory

This article was inspired by participant observation of a contemporary collaboration between empirically oriented philosophers of mind and neuroscientists. An encounter between this anthropologist of science and neurophilosophers in a Finnish sleep laboratory led to the following philosophical exploration of the intellectual space shared by neurophilosophy and science studies. Since these fields emerged in the 1970s, scholars from both sides have been visiting brain research facilities, but engaged with neuroscientists very differently and passionately fought with each other over the reduction of mind to brain. As a case in point, this article looks at the philosophical controversy over the dreaming brain. It serves as a window on the problem space opened up by the demise of positivist conceptions of science, now inhabited by both neurophilosophy and science studies. Both fields face the problem of how to bridge the gap between empirical research and conceptual work. At a time when ontological speculation has made a comeback in these areas of research, studies on how epistemic objects manifest themselves in the material culture of neuroscience could help neurophilosophers to become better materialists. In the sleep laboratory, however, the materiality of dreams continues to be elusive. In dreaming science studies and neurophilosophy encounter a phenomenon that – at least in 2015 – still invites a positivist rather than a materialist attitude.

The Politics of Participatory Art

The two books reviewed in this article engage with ‘participatory art’, in which artists mobilise people as the central medium of their work. Grant Kester argues that such works have the potential to generate new communal forms that challenge neoliberal hegemony, while Claire Bishop argues that in dispensing with the negating praxis of the avant-garde they all too frequently end up reproducing its logics. The article suggests that if the binary that structures both their arguments is overcome, a productive synthesis of their arguments can be made – although this still leaves unanswered a number of questions about the role that art might play in social change. Bishop, C. (2012) Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso. Kester, G. H. (2011) The One and the Many: Contemporary Collaborative Art in a Global Context. Durham, NC: Duke University Press.

Beyond Extremism

Seeking to move beyond language of “extremism”, this article discusses some of the promises and perils of Muslim-Christian dialogue in an era after September 11, 2001. The author advocates for the public face of religion in secular societies, assesses several recent developments in Muslim-Christian engagements, and proposes steps for opening up a more fruitful contemporary collaboration between Muslims and Christians. Written from a Christian perspective, the article concludes by arguing for “dialogical openness” as a hopeful path toward interfaith mutuality.

The One and the Many: Contemporary Collaborative Art in a Global Context. By Grant H. Kester. Durham, NC: Duke University Press, 2011; pp. x + 310, 15 plates, 14 illustrations. $89.95 cloth, $24.95 paper, $24.95 e-book.

The One and the Many: Contemporary Collaborative Art in a Global Context. By Grant H. Kester. Durham, NC: Duke University Press, 2011; pp. x + 310, 15 plates, 14 illustrations. $89.95 cloth, $24.95 paper, $24.95 e-book.

Understanding life together: A brief history of collaboration in biology

The history of science shows a shift from single-investigator ‘little science’ to increasingly large, expensive, multinational, interdisciplinary and interdependent ‘big science’. In physics and allied fields this shift has been well documented, but the rise of collaboration in the life sciences and its effect on scientific work and knowledge has received little attention. Research in biology exhibits different historical trajectories and organisation of collaboration in field and laboratory – differences still visible in contemporary collaborations such as the Census of Marine Life and the Human Genome Project. We employ these case studies as strategic exemplars, supplemented with existing research on collaboration in biology, to expose the different motives, organisational forms and social dynamics underpinning contemporary large-scale collaborations in biology and their relations to historical patterns of collaboration in the life sciences. We find the interaction between research subject, research approach as well as research organisation influencing collaboration patterns and the work of scientists.

Wonder-full geomorphology

Though not yet readily apparent in articles and book chapters, there is a burgeoning series of ‘in the field’ collaborations between geomorphologists and artists focused around the mutual exploration of ‘inspirational landscapes’, and the harnessing of the emotive dimensions of such body/world encounters in the production and communication of geomorphological knowledge. Seemingly at odds with the discipline’s emphasis upon the production of fieldwork data (as opposed to sensed phenomena), as well as its disavowal of the subjective, this work nevertheless resonates with a complex and fascinating aesthetic tradition within geomorphology. Here, we ‘place’ these contemporary collaborations via: reference to Humboldtian science, and the crucial link between sensibility and precision; a reading of the Kantian sublime in the work of G.K. Gilbert; a sketching out of the evisceration of both the aesthetic and art in the second half of the 20th century; and, finally, a review of the current scope of art/geomorphology collaborations, and possible futures.

Avant-Garde vs. Collaborative Art

The One and the Many: Contemporary Collaborative Art in a Global Context By Grant Kester Duke University Press, 2011 320 PP./$89.95 (hb), $24.95 (sb) The title of Grant Kester's latest book references Spinoza's theological reconciliation of the individual and the social as part of an elaborate cautionary tale on the pitfalls of aesthetic autonomy. In his previous book, Conversation Pieces: Community and Communication in Modern 41rt (2004), Kester put forward one of the most elaborate rationales for engaged community art to date, which he termed He did so by suggesting that community art represents a paradigm shift away from the non-discursive tactics of avant-garde contestation. Such methods, he argues, separate artists from their audience by construing the latter as non-discursive raw material that needs to be radicalized. While the better part of Conversation Pieces is dedicated to descriptions of dialogical art practices, this new book focuses much more concretely on the theoretical claims of the first to draw a far more rigid line in the sand. [ILLUSTRATION OMITTED] Kester is a seasoned art critic with a long track record of insightful writing on the shift from public art and identity politics in the 1980s and '90s to the new phenomenon of community art in the '90s and 2000s. The type of site-specific collaborative work he champions today unfolds, he says, through an extended interaction with local communities. Like many proponents of new tendencies, he has worked to anchor his criticism in both social and political as well as the of aesthetics. In the first of three dense chapters he takes aim at the criticism of Nicolas Bourriaud and Claire Bishop, two authors whose ideas founder on the shores of an outmoded modernism. It's not so much that the boundaries between avant-garde and community art can't be determined, he says, it's rather that the mainstream of art has not fully understood the social and political implications of the new practices, which complicate conventional notions of aesthetic autonomy (9-10). Mille erudite and knowledgeable, Kester's polemic is intensely prescriptive. For the sake of artist groups like Park Fiction, Ala Plastica, Huite Facettes, and Dialogue, so much theory must fall to the wayside, including the work of Roland Barthes, Jacques Derrida, Michel de Certeau, Jean-Francois Lyotard, Julia Kristeva, Maurice Blanchot, Alain Badiou, Gilles Deleuze and Felix Gnat tari, Giorgio Agamben, jean-Luc Nancy, Emmanuel Levinas, Jacques Ranciere--and anyone associated with the post-May '68 generation of postmodern pessimism, or who guards against premature totalizations. Kester shows signs here of what we all know, which is something like a beyond to the of history and end of meta-narratives discourse, but he is careful to avoid proposing a re-radicalization that returns to the tropes of the past. …

From Theory to Practice: Review of the Literature on Dialogic Art

This article provides an overview and critique of significant writings on dialogic public art from 1994 to the present. The author examines different perspectives on this development from the theoretical to the practical in five texts: Suzanne Lacy's Mapping the Terrain: New Genre Public Art; Tom Finkelpearl's Dialogues in Public Art; Grant Kester's Conversation Pieces: Community + Communication in Modern Art and The One and the Many: Contemporary Collaborative Art in a Global Context; Claire Bishop's Participation; and Pam Korza and Barbara Schaffer Bacon's Civic Dialogue, Arts & Culture: Findings from Animating Democracy. Terminology used by each writer is defined and differences are explored between “new genre public art,” “dialogue-based public art,” “dialogical art,” “participatory art,” and “arts-based civic dialogue.”

The changing ecology of teams: New directions for teams research

SummaryThe nature of collaboration has been changing at an accelerating pace, particularly in the last decade. Much of the published work in teams research, however, is still focused on the archetypal team that has well‐defined membership, purposes, leadership, and standards of effectiveness—all characteristics that are being altered by changes in the larger context of collaboration. Each of these features is worth attention as a dynamic construct in its own right. This article explores what the teams research community has to gain by researching, theorizing, and understanding the many new forms of contemporary collaboration. Copyright © 2012 John Wiley & Sons, Ltd.

THE CREATIVE ASSEMBLAGE

This paper contributes to theorizing contemporary art collaborations in the context of the mediatory labour required of artists, and the complexity of the collaborative contexts in which aesthetic production is now enmeshed. In order to account for this complexity without reducing its analysis to ‘structured fields’ or ‘systems’, we use elements of assemblage theory in a quite specific way: drawing on DeLanda's work on social and organizational forms; and Law's ‘method assemblage’ to analyse the specificity of working interfaces that craft new boundaries and working relations. We develop a case study of C3West, an Australian initiative encompassing arts institutions, businesses, and communities. The analysis traces assemblage processes that generate dispersed working arrangements (partnerships, intersectoral, and interdisciplinary working interfaces) across apparently incommensurable domains, yet without forming overarching structures or requiring common rationales for cooperation. To demonstrate the work of assemblage, we discuss the practices of French artist Sylvie Blocher and the multidisciplinary collective, Campement Urbain, who employ aesthetic and performative means to forge new institutional practices and alliances for intervening in urban planning processes in regional Sydney.

See the Sound, Hear the Style: Collaborative Linkages between Indie Musicians and Fashion Designers in Local Scenes

Although economic geographers have paid significant attention to the competitive dynamics, organizational and employment structures of specific cultural industries, the existing research privileges large firms and established centres such as New York, London and Los Angeles. Moreover, despite the conceptual articulations of spillovers and “related variety” few attempts have been made to examine the collaborative linkages between two or more related industries and, more specifically, how changing macro-economic forces are affecting individual producers at the local scale. In this paper we address these gaps and argue that the growing prevalence of independent production is transforming the nature of the long-standing connection between music and fashion. Specifically, that strategic collaborations between indie producers are becoming crucial to competing in the contemporary landscape of cultural production and consumption. We also assert that the motivations and mechanisms of these contemporary collaborations differ from their historical counterparts in important ways. Indeed technological advancements and the demands of indie production are changing the networking practices that facilitate these partnerships and the ways in which indie producers value and exchange goods and services.

A scalable and robust approach to collaboration enforcement in mobile ad-hoc networks

Mobile ad-hoc networks (MANETs) have attracted great research interest in recent years. Among many issues, lack of motivation for participating nodes to collaborate forms a major obstacle to the adoption of MANETs. Many contemporary collaboration enforcement techniques employ reputation mechanisms for nodes to avoid and penalize malicious participants. Reputation in- formation is propagated among participants and updated based on complicated trust relationships to thwart false accusation of benign nodes. The aforementioned strategy suffers from low scalability and is likely to be exploited by adversaries. In this paper, we propose a novel approach to address these problems. With the proposed technique, no reputation information is propagated in the network and malicious nodes cannot cause false penalty to benign hosts. Nodes classify their one-hop neighbors through direct observation and misbehaving nodes are penalized within their localities. Data packets are dynamically rerouted to circumvent selfish nodes. As a result, overall network performance is greatly enhanced. This approach significantly simplifies the collaboration enforcement process, incurs low overhead, and is robust against various malicious behaviors. Simulation results based on different system configurations indicate that the proposed technique can significantly improve network performance with very low communication cost.

Real-Time Collaborative Heuristic Review: Meeting the Production Schedule Without Sacrificing Quality

Although most heuristic evaluation reports are provided to customers after the entire review process is complete, short production schedules sometimes demand real-time feedback from a heuristic evaluation team. In the past, this type of rapid turnaround has proven to be nearly impossible, but contemporary collaboration tools make real-time feedback a reality. This paper describes the process used by an accessibility evaluation team to provide real-time product feedback to customers. This evaluation team streamlined their current process, turning a highly serialized process into tasks that could be done in parallel by adding new software tools to allow them to work in a collaborative fashion. This improvement enabled rapid feedback to the customer and resulted in a real-time collaborative expert review process that can be used to conduct expert usability or accessibility reviews in any domain.