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Wind
Text by Vicki Goldberg, Eugenia Parry.
An Evaluation of World Economic Outlook Growth Forecasts, 2004–17
This paper examines the performance of World Economic Outlook (WEO) growth forecasts for 2004-17. Short-term real GDP growth forecasts over that period exhibit little bias, and their accuracy is broadly similar to those of Consensus Economics forecasts. By contrast, two- to five-year ahead WEO growth forecasts in 2004-17 tend to be upward biased, and in up to half of countries less accurate than a naïve forecast given by the average growth rate in the recent past. The analysis suggests that a more efficient use of available information on internal and external factors—such as the estimated output gap, projected terms of trade, and the growth forecasts of major trading partners—can improve the accuracy of some economies’ growth forecasts.
COMPSTAT 2006 - Proceedings in Computational Statistics
International Association for Statistical Computing The International Association for Statistical Computing (IASC) is a Section of the International Statistical Institute. The objectives of the Association are to foster world-wide interest in e?ective statistical computing and to - change technical knowledge through international contacts and meetings - tween statisticians, computing professionals, organizations, institutions, g- ernments and the general public. The IASC organises its own Conferences, IASC World Conferences, and COMPSTAT in Europe. The 17th Conference of ERS-IASC, the biennial meeting of European - gional Section of the IASC was held in Rome August 28 - September 1, 2006. Th...
Grays the Mountain Sends
Grays the Mountain Sends by Bryan Schutmaat documents the rugged landscapes and people of the great American West. The images describe a series of mining sites and small mountain towns and the people who have worked in them, built them, and a few younger people who might, or might not, be looking for a way out of them.
The Canary and the Hammer
"Photographed across four years and four continents, 'The Canary and The Hammer' details our reverence for gold and its role in humanity's ruthless pursuit of progress. Through a mix of image, text and archival material, the third book by British artist Lisa Barnard provides insight into the troubled history of gold and the complex ways it intersects with the global economy. Gold is ubiquitous in modern life; the mineral is concealed at the heart of much of the technology we use and is, most fundamentally, a potent symbol of value, beauty, purity, greed and political power. The Canary and The Hammer strives to connect these disparate stories -- from the mania of the gold rush and the brutal ...
Cosmo-eggs
Presented at the Japan Pavilion as part of the 2019 Venice Biennale. Cooperation is a vital element of the exhibition, which forms a collective effort to explore new meanings and possible forms of co-existence between diverse beings. Further, it examines the potential of unknown ideas and experiments that are created through artists? mutual inspirations. Designed by Yoshihisa Tanaka, the book collects the writings and visual notes by the four participants (artist Motoyuki Shitamichi, composer Taro Yasuno, anthropologist Toshiaki Ishikura, and architect Fuminori Nousaku) as well as curator Hiroyuki Hattori. 00Exhibition: Japan Pavilion, 58th Biennale, Venice, Italy (11.05.-14.11.2019).
The Photography Reader
The Photography Reader is a comprehensive introduction to theories of photography; its production; and its uses and effects. Including articles by photographers from Edward Weston to Jo Spence, as well as key thinkers like Roland Barthes, Victor Burgin and Susan Sontag, the essays trace the development of ideas about photography. Each themed section features an editor's introduction setting ideas and debates in their historical and theoretical context. Sections include: Reflections on Photography; Photographic Seeing; Coding and Rhetoric; Photography and the Postmodern; Photo-digital; Documentary and Photojournalism; The Photographic Gaze; Image and Identity; Institutions and Contexts.
Holding the Camera
”How one tilts the camera, holds it with both hands in front of the waist. How one looks through the viewfinder, gazes one-eyed into the world. How one hides it in stockings, behind the back, and how one lets it peep out from behind the corner of a building, as though it were a detective. Holding the Camera shows a pictorial genre from the now extinct era of analogue photography. Like the dinosaurs, supposedly the victims of a violent meteorite bombardement, also these images that were once distributed a million times over in instructions and advertisements, have been erased, deleted.“ Nadine Olonetzky (Verlagshomepage).
Echo
In the early 1990s, various trips took South Korea-born, New York-based artist Jungjin Lee (born 1961) into the endless expanse of America, where she captured archaic, primal images of deserts, rocks, undergrowth and cacti. Drawing on her South Korean heritage, the artist developed a highly unique pictorial language in series such as Ocean, On Road, Pagodas, Things and Wind, series in which her fundamental interest in nature and culture is expressed in a poetic language of materiality, texture and craftsmanship that takes place in the field and in the darkroom. One of her signature materials is Liquid Light; she applies this photosensitive emulsion onto rice paper with a coarse brush. Jungjin Lee: Echo presents 11 groups of the photographer's works, explored and contextualized in new essays--providing, for the very first time, an overview of an oeuvre spanning two decades.
Jungjin Lee
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