#biblography

[hollyeccles]

Bibliography

CHS:

https://pin.it/h52e3vhr5hbnbv

https://coolors.co

https://bizongo.com/blog/packaging-color-psychology/

https://pin.it/ytjl3q3aq3taf5

Case Study:

https://liinc.com

https://chs.agency

https://www.bandb-studio.co.uk/our-work/raw-halo

https://www.bandb-studio.co.uk/our-work/fever-tree

https://www.bandb-studio.co.uk/our-work/pip-and-nut

https://www.linkedin.com/company/b&b-studio

https://www.bandb-studio.co.uk

http://studioclausdue.dk

https://www.hartwilcox.com

Website:

https://www.youtube.com/watch?v=cdaUPQIdfgQ

https://www.bandb-studio.co.uk

http://khroma.co

D&AD Brief:

https://www.youtube.com/watch?v=eAfyFTzZDMM

https://songmeanings.com/songs/view/3530822107858486775/

https://www.youtube.com/watch?v=HmAL3RduwpA

https://www.lyricinterpretations.com/macklemore/same-love

https://www.youtube.com/watch?v=Qt2mbGP6vFI

https://www.songfacts.com/facts/phil-collins/another-day-in-paradise

https://www.youtube.com/watch?v=d5XJ2GiR6Bo

https://www.wordsinthebucket.com/enola-gay-orchestral-manoeuvres-dark

https://pin.it/hznspgkn4qv6ox

https://www.durex.co.uk/pages/why-durex?_$ja=tsid:65246%7Cprd:1736887&utm_source=Tradedoubler&utm_medium=affiliate&utm_campaign=VigLink+UK&utm_content=content&tduid=42d64008e02381e99e562f24b3d7473c

https://www.bbc.co.uk/news/uk-10712088

https://www.thebalancesmb.com/what-is-ad-copy-and-how-is-it-used-in-marketing-2295426

http://www.lovecreative.com/blog/2019/3-x-brands-nailing-their-use-of-language

https://www.behance.net/gallery/75636503/Spotify-2018-Wrapped

https://www.youtube.com/watch?v=vDtYVCZiNc8

https://www.youtube.com/watch?v=t9zUEmatYBQ

https://www.youtube.com/watch?v=07rGEbLTvQU

https://www.youtube.com/watch?v=zgmmWrUKxfg

https://www.youtube.com/watch?v=4knIO6fSPRk

https://www.youtube.com/watch?v=fiVAjwm3IbM

https://www.cosmopolitan.com/uk/love-sex/sex/a20111753/can-disabled-people-have-sex/

https://www.youtube.com/watch?v=etIqln7vT4w

https://www.youtube.com/watch?v=ZE4YRLIO4rs

https://www.bmwblog.com/2014/11/11/jaguar-says-bmw-audi-mercedes-breakfast/

https://www.youtube.com/watch?v=fryBnFSYlLw

http://laurenhillebrandt.com

https://pin.it/6aiiowey3eib6d

https://www.aarontilley.com/work/in-anxious-anticipation/

https://www.youtube.com/watch?v=3vPAwEYc6FM

https://www.youtube.com/watch?v=MEglOulvgSY

https://www.youtube.com/watch?v=0k-_4WloY6Y&t=61s

https://www.youtube.com/watch?v=5lwMQYxm23U

https://www.youtube.com/watch?v=Tu-sbmySMG8

https://www.youtube.com/watch?v=BE67EwLGcs0

https://www.youtube.com/watch?v=DVIGdlmqsOc

https://www.youtube.com/watch?v=kwfZGKDL5wc

[hollyeccles]

Biblography

https://www.youtube.com/watch?v=3Xlh4EUjwD4

https://www.youtube.com/watch?v=F5QeoXNdk7A

https://vimeo.com/140805787

https://www.youtube.com/watch?v=Xx8XsthXsSw

https://www.royalacademy.org.uk/article/cornelia-parker-poppies

https://vimeo.com/119863746

https://vimeo.com/129148768

https://vimeo.com/178163868

https://vimeo.com/120274643

https://www.youtube.com/watch?v=d3KQ4IJWKXU

https://www.aestheticamagazine.com/cornelia-parker-2/ 

https://www.tate.org.uk/art/artworks/parker-cold-dark-matter-an-exploded-view-t06949 

https://www.royalacademy.org.uk/art-artists/name/cornelia-parker-ra

https://www.frithstreetgallery.com/artists/cornelia-parker 

https://www.frithstreetgallery.com/artists/cornelia-parker/works

https://pin.it/tfjfdszae7fq4a

https://pin.it/2xojhvcldjlsfe

https://pin.it/k7a2qa5eyy76uh

https://pin.it/qtx3hpf746vq5g

https://pin.it/3d7yxwqhn2hawr

https://pin.it/mjxgr5cktomyp2

https://vimeo.com/140805787

https://www.youtube.com/watch?v=Xx8XsthXsSw

https://www.youtube.com/watch?v=i8odVjctD30

https://www.youtube.com/watch?v=EESLUAoq69s

https://www.youtube.com/watch?v=ouDWQmyE35U&list=PLScxAgoN5N-HBCiYZBXza6m62FGCGkIOC&index=2

https://www.youtube.com/watch?v=gfPYEwXQlpE

https://www.youtube.com/watch?v=i_7U_KbNXyE

https://www.youtube.com/watch?v=q3v5CRTETcM

https://www.youtube.com/watch?v=BToknsjlENM

[lunaciclo]

Screenprintig how to book

[jimcaterino]

Part of my life's work #biblography #legacy #bookshelf #books #reading #action #epic #adventure #YA #dystopian #scifi #femmefatale #comingofage #actionhero #UFO #alien #Roswell #Bigfoot #hominids #greatapes #forest #jungle #coverart #illustration #reading #author #novels https://www.instagram.com/p/BtjekVAliYf/?utm_source=ig_tumblr_share&igshid=ios7wwt2i7k8

[chittoorlive]

Iron Deficiency

CHAPTER – VII

BIBLOGRAPHY

T(1998) Nurssing Research (1st edition) Bangalore, Jayapee Publishers.

Brunner and Sudarth Text Book of Medical and surgical Nurssing. 11th edition, published by wllots kliwer, India Pvt ltd. New delhi 2nd Page 1039

Community health nurssing manual Prepared by trained nusses association of India L.A green park, New delhi, Page No:331.

Community health nursing, 3rd…

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[ibalkisai]

‏‎Of books bought 01 (Introductory #biblography) #Day_03_Centerenary_week #شيخ_آدم_عبد_الله_الإلورى ‎‏ (في ‏‎Markaz Agege Arabic & Islamic Training Center‎‏)

[igreyphd]

WORKS CITED - Alterity

Bataille, Georges. Oeuvres complètes. 12 vols. Paris: Gallimard, 1970-88. [OC]

Borch-Jacobsen, Mikkel. Lacan: The Absolute Master. Stanford: Stanford UP, 1991.

Cano-Gauthier, Mona. “Approche psychanalytique  du processus de création littéraire comme sublimation dans les récits de Georges Bataille.” Diss. Université de Montréal, 1991.

Chapsal, Madeleine. “Georges Bataille.” Les écrivains en personne. Paris: UGE, 1973. 22-33.

Dean, Carolyn J. The Self and Its Pleasures: Bataille, Lacan and the History of the Decentered Subject. Ithaca: Cornell UP, 1992.

Gandon, Francis. Sémiotique et négativité. Paris: Didier Érudition, 1986.

Lacan, Jaques. “Du traitement possible de la psychose.” Écrits. Paris: Seuil, 1966.

Marmande, Francis. Georges Bataille Politique. Lyon: PUL, 1985.

McWhorter, Ladelle. “Is There Sexual Difference in the Work of Georges Bataille?” International Studies in Philosophy 27.1 (1995): 33-41.

Perniola, Mario. Georges Bataille et la pensée de la marginalité. Paris: Méridiens-Anthropos, 1982.

Sichère, Bernard. “L’écriture souveraine de Georges Bataille.” Tel quel 93 (Fall 1982): 58-75.

Suleiman, Susan Rubin. Subversive Intent: Gender, Politics, and the Avant-garde. Cambridge: Harvard UP, 1990.

Suleiman, Susan Rubin, and Susan Sontag. “The Pornographic imagination.” Partisan Review 34.2 (1967): 151-212.

[egnewm2]

#1422 By William Loveless 

 http://www.theenglishroom.biz/2014/12/01/artist-spotlight-series-william-loveless/ [accessed Nov 2017]

 William Loveless is an American artist who is influenced by artists such as Jackson Pollock, Andy Warhol and takes inspiration from comic strips. There are many different elements to his practice and how he creates the mesmerising pieces. His primary objective is to probe the intersection where the creative act meets the creation itself. Loveless is a self-taught artist who mainly works with PVA glue and a range of inks and resins. He creates the pieces by allowing the ink to create scientific patterns within the glue and the glue or resin then traps the pattern once dry. Within this piece called #1422 you can see the scientific aspects created with the PVA glue and how they have been trapped.

 The patterns are made to fit within a pipet dish shape which gives the slight impression that they are somewhat controlled. Science in general is partly controlled by human interaction so it’s almost as if loveless is acting as part scientist, part artist. By #1422 reflecting scientific aspects it allows us to highlight the connection between art and science. There are many aspects of science present within this piece including microcosmic, macrocosmic and biological aspects all relating to the patterns created. Loveless lets his sense of his own curiosity take lead with his work and how he is inspired by the idea of theoretical physics. He also shows how he is interested in the idea of the reaction between wet on wet materials. From the bright colours to the wide spread of patterns created you can tell that they have not been forced. The work created is left a lot to the idea of chance and brings a sense of chemical reactions. The way that loveless crosses over the boundaries shows how we should be working within the future as part artists, part scientist and anything in between. He proves that something doesn’t have to always fit inside one specific box to be appreciated.

 #1422 overall looks pretty, controlled and almost calm. I believe if it was left to react more and not controlled it would allow the piece to interact, perhaps being more interesting. The idea of each circle being set into the same shape takes away the idea of reactions and pushing the boundaries. Within this image, the colour theme has been set around red. I really like this as it gives the image more of an interest aspect, as everything is different with the image. It also gives the image an automatic connection to science, in the idea of blood, blood vessels and patterns.

 The Art vs Science Debate

 Art vs Science Debate,2017. [online] Available at: https://www.theguardian.com/artanddesign/2011/aug/21/collaborations-between-artists-and-scientists [Accessed 15 Nov. 2017].

 The Art and Science debate is a very interesting article written by Stuart Jeffries that was published in the guardian six years ago. The article reflects several different interviews between artists and scientists, showing their views on if art and science are similar or not. It is eye opening to see that this type of article has been posted within the guardian and not just in an art journal. It shows that because a collaboration has happened between an academic subject and a creative subject it automatically reaches a wider audience. Six years ago, the idea of collaboration wouldn’t have been as spoke about as it is today, so its surprising to see an academic paper like the guardian backing this type of debate. The whole article is based around the idea of what happens if practitioners from both fields come together to collaborate. In the section between Marc Quinn and Sir John Sulston it was interesting to see how they both believe in the idea of combined subjects but they are not full happy with the idea of saying there the same practice.

 Quinn is a very extraordinary artist who plays with the idea of personal reflection and the use of none art material. One of my favourite pieces is Self, (1991) which is made up of nine pints of his own blood. Where Sir John Sulston is a Genetic scientist who is known for the decoding of humans. Quinn was commissioned by the national gallery in 2000 to make a DNA portrait of Sulston. This then lead onto them collaborating with several different projects. 10 years later after the portrait was made and several collaborations had happened, this article was written. The idea was to see if their opinions of each other’s discipline had changed. Quinn suggests they are different as art wants questions and science wants answers. It’s a bold statement for Quinn to suggest they are still different as it gives people an argument of saying they should be taught separately and not in a cohesive way.  

 Sulston suggests he believes in this theory but he also said you need collaboration to appreciate each other. He states that when art and science work together it allows them to see things differently as your able to see it from each other’s perspectives. Sulston also suggests that from decoding the human DNA its enabled his whole perspective to change as he believes science is also trying to modify what’s there rather than just looking for answers. After reading this article it has really inspired me toward my creative piece of writing as there so many different piece of writing suggesting that art and science are the same, yet there’s many that suggest they are nothing alike.  Furthermore, if such a broad artist like Quinn and if an extraordinary scientist like Sulston is making these connections between their practices surely there’s something we are missing when teaching children that art and science are separate subjects.

 The Lab, creativity and culture by David Edwards:

 Edwards.D.(2010). The lab – creativity and culture. Cambridge , Mass.: Harvard University Press.

 The lab is a book written by David Edwards. He is a professor of the practice of Biomedical Engineering at Harvard University. He is also the founding director of Le Laboratoire in Paris and the idea of Translation Lab at Harvard. His work encourages the collaboration of art and science and the need for multi-disciplinary labs. Within the book, Edwards talks about a special kind of lab called art science labs. Where creators and society meet through cultural exhibition (2010, p 3&4) which creates a new platform for development. Edwards suggests that there are two different ways of thinking Aesthetic and Analytical (2010,p4) which are developed depending on which setting they are used in. Aesthetic thinking is progressed through creative processes, where analytical thinking thrives through scientific process. However, David suggests that whenever we create something new, these two ways of thinking are fussed together allowing collaboration to happen. David goes onto talk about Le Laboratoire which opened in 2007, the welcome collection, London 2007 and the science gallery, Dublin 2008 pg8. All three of these Cultural centres opened with the goal of bringing artistic and scientific, themes and concepts together in order to educate the public about the power of collaboration. Le Laboratoire was different to the others as it would host experiments and develop ideas around the idea of performing art and design. After the success of the first lab, more were opened across, Boston, Cambridge, Paris, Pretoria and Cape town as it was important to keep the idea of the art science lab out of isolation. David goes onto talk about the whole point of the labs and how they are used. Art and science are such big topics on their own that when they collaborate, they are going to come up with some concepts and theory’s that perhaps the world isn’t ready for just yet. By allowing these developments to happen in side the lab it gives the ideas a chance to mature enabling them to reach the audiences outside of the labs before being thrown away or looked over. It allows us to fuse together the idea of aesthetic with the analytical. He states that Art science labs provide interdisciplinary conditions and expressive environments that benefit creators and bring beneficial and sustainable change (2010, p17). Although David works hard on the idea of interdisciplinary projects it enables us to question who is going to benefit from the labs? The on-going idea of the labs seems extremely exciting and something that could possibly change the way we teach our children. However, with all new and upcoming projects they seem great until we consider the logistics of who is going to be allowed access? and on what ground are people going to be allowed to produce work in the labs. Within my project, I want to show the cross over between the two subjects and show that it’s okay to question is it art or is it science. Everything doesn’t always have to fit in one box.