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Haymah
No full textBuilding in the desert can mean a highly attractive and suggestive experience. The desert, that place which gathers in the same geography maximum naturality and artificiality, lacks completely and utterly any trace of apparent life, visual references or scale. Therefore it is a field of action outstanding on account of its neutrality, an almost abstract territory. At the same time, no context imposes such a clear and direct relationship with nature: sand, air and light, elements by themselves capable of making up a landscape full of poetry and tragedy. When we think about the most suggestive and inspiring concepts we have handled during our project research, that of the nomadic tent usually comes to mind: an extremely thin veil able to draw a space, laying down a limit between the outer world and the inner one. The tent is configured as a basic system which responds accurately to a habitable request, being at the same time structure and ornament. It is built up with essential techniques and it is also settled spontaneously in the geography of the desert, turning the most definitively inhospitable place into a protected shelter. Its poor external appearance contrasts with the internal one, full of precious fabrics and a soft light that creates a mystic atmosphere. The nomadic tent stands out through its resistance to extreme weather conditions of wind and sun, as much as through its precariousness. As a result, it is an ephemeral construction, able to host life and dreams without the necessity of permanence. The wide range of suggestions and contradictions emanating from this minimal form of architecture creates the most efficient synthesis of our project sensibilities. The haymah encourages us to think of an open architecture to society and simultaneously intimate and emotional. It reminds us of the necessity of an architecture able to relate itself with the place naturally while keeping its own formal independence. It tells, eventually, how to build architecture with restricted manners of expression while forgetting neither the sense of mystery nor the immaterial worth of the unexpected
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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