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Ba Win and Pete Baumann
Get PDFSelected excerpts from an event at which Ba Win and Pete Baumann were the guest speakers. The full transcript may be restricted. To request access contact the Simon’s Rock College Archives.
Ba Win: Mrs. Hall told me that she thought that a variant on even a good American high schools might be possible based on her conversations with her alumnae, her Concord graduates who had come back to visit her, and she asked them how are things going, and these young women at the best schools in America, they would say “Fine, it’s OK.” without much enthusiasm but she knew they were doing well, and when she dug further she found that what had happened was that she had a bunch of bright students at Concord, and she had great teachers working for her, and in a private school you don’t have to conform to state standards, you can do whatever you want within reason, and what had happened was that... the teachers would raise the bar and the students would respond to the teachers raising the bar and on and on it went. So much so that it wasn’t until their sophomore or even their junior years that her Concord Academy students really encountered real work, that without meaning to, they had anticipated the first two years of college, and they had gone into it, and so it really brought to Mrs. Hall the question about the convention that 18 year olds are only supposed to be doing this much, in fact her 18 year old students were doing a whole lot more than that.
Ba Win: For years and years and years, after the original campus was built, and it was a very nice new campus, we did not have sophisticated facilities. Science was taught with a piece of chalk, photo labs were as basic as they could be, but basic as they were, 3 weeks ago in the New York Times, they had a series of winter scenes in the city, 10 pictures, utterly beautiful, all [by] Simon’s Rock [alumni Jan Staller ‘70] At a time when we had very primitive performance facilities we nevertheless produced the Coen Brothers, Ethan and Joel Coen, so we’ve had extraordinary people come out of this place. We have more than a piece of chalk now to do the sciences, and that’s how it should be, when you recruit the most talented people that you can find you owe them the appropriate facilities but the tradition of really teaching, not just using bells and whistles, has persisted.
Pete Baumann: I thought of an idea, wouldn’t it be nice to put a little water in [the Library Atrium] or something or something like that so I dug a ditch and got some stones and river rocks, and put in some black plastic and some water. [...] Ace who was there by himself, and one of the guys decided, you know, throw in a couple extra frogs and he ate them, except for one, and that one survived and we called him Deuce. Deuce had a little bit of a problem, he couldn’t swim well, he couldn’t swallow well and I had to kind of hand feed him, and everyone would come in and take pictures of the frogs, little kids would come in with their parents, maybe brothers and sisters, maybe prospective students. I used to bring them out and show them the frogs, well some of these little kids grew up and became students at Simon’s Rock, graduated, and brought their kids in, that’s how long. The two bullfrogs were in there for 15 years, Ace and Deuce were, and they were very tame, the bullfrogs were, the students used to pick them up and pet them, and if the students were sitting there the frogs would come out and sit right there between them like they were part of the conversation, it was really something.
Ba Win: Betty Hall was very successful at Concord Academy at a time when the women\u27s voice was very nascent, she was one of the people who by being a strong leader was showing that generation who were at school with her that all the usual rules and limitations should not apply, they were ridiculous, they should fall away. But she was also of an older style, she would begin a meeting by saying “Ladies” and when she started Simon’s Rock she had one foot in her mother\u27s generation and one foot in the next generation. It’s important to remember that she started the school in the second half of the 60s when questioning authority was very much en vogue. She took care to hire younger teachers, she did not want to hire very experienced people because she was sure once they came they would revert to what they were familiar with, she wanted something new and as a result she went out and hired a whole lot of recently minted MA and PhDs, but they were also stepping out of the 60s having just come out of college where protests and demands were commonplace, so, basically Betty collided with the 60s and she found it really, really hard. In many ways the form of education that she proposed was transformative, it was very different, it wasn’t you sit there obediently and silently and I’ll tell you and you record it, and of course if you have questions I’m happy to answer. It was going from that to challenging everything.https://digitalcommons.bard.edu/sr-oral_hist/1002/thumbnail.jp
Ba Win
Get PDFSelected excerpts from the Oral History Project interview. The full transcript may be restricted. To request access contact the Simon’s Rock College Archives. Mr. [George] Gilder was invited to do a talk and it happened in the lecture center. It was a packed house. [...] At the end of the talk, in the questions part, a number of students had come really, really well prepared. And they asked questions but it was not the usual pedestrian question. They would ask something detailed and Gilder would kind of treat it like some common response. But then the student would say “look, the statistics, Mr. Gilder, are these” and blah blah and blah blah and contradict him right there. And then, out of nowhere-- you could not see it-- on the PA system, came a whole bunch of absolutely ridiculous things that Mr. Reagan had said, in his own voice. These were taped snippets, one after another. Bob Ackerman, who was then the head of the school, was beside himself. He had this distinguished guest and then on the audio system were these authentic, not made up, Mr. Reagan quotes saying absolutely foolish things. And the guests didn’t know what to do at first but after a while people began to laugh and it kind of ended in a, you know, confused mess. Because Bob was saying “Unplug it! Unplug it!” but there was nothing to unplug! [...] It was a brilliant and cerebral joke. It wasn’t drowning and insulting him by saying lousy things. It was bringing up things that were incontrovertible and doing it in such a clever way. I was so proud! [Leon Botstein introduced the Seminar program.] His feeling there was that all of college should not be like a Chinese restaurant menu, something from column A, something from column B, and so on. There ought to be a unifying intellectual experience. And yes, I will be arbitrary by saying we should read this, this, and this and not that, that, and that, but the works are not carved in stone. It’s just important to have everyone do the same thing. Over time you can change what that thing comprises of, but he said it ought to be possible to have a campus-wide conversation about it. Pat Sharpe, who was the academic dean, said to me “Ba Win, I need you to teach freshman seminar.” Me? What are you talking about? I haven’t read any of these books, you know? But what had happened was, someone who had committed to teaching it left. And suddenly we had a section with nobody to teach it. I furiously read. I was one week ahead of my class all the time-- because I’d have to read it two, three times. Then as it happened, Pat [Sharpe]’s class met at ten o’clock. And my class met at one o’clock or something like that. So I would go to Pat’s class and sit with the students and listen. Because I had read the stuff, hear kinds of questions that got raised and the way Pat would discuss it. And then I’d go to my class, heart in my mouth, and go-- you know, it worked out. Because I would say to them “I don’t know. I’m new to it too. But the working idea is that I know how to read and I know how to think and together we can figure it out.” And do you know, it was the most exciting-- it was more exciting than any class I ever had at Kalamazoo College. Because there, the specialists talked and we took notes. And here, Simon’s Rock, as you know from your own experience, there are some really unusual people here. Quirky, imaginative, willing to just-- burst out with whatever comes to mind. And sometimes it’s totally foolish and we all have a good laugh. And sometimes it’s jaw-dropping. How did you find this? I read the same thing and that never occurred to me! So it was-- I became a believer. Oh, I loved [Livy] to pieces. I used to spend Wednesday mornings with him, from about 8:30 to 10:00. Livy was about 6’6”, very tall man, but by the time I met him, he was stooped. And he was such a thoughtful person. I would talk to him about whatever was bothering me with my work. And if a question came up, his frequent response was, “Well, let me think.” And we’d go into this thirty seconds of quiet where he would-- he always was cogitating. He would think through, and he would never tell me what to do. He would say “Well, there are many ways to look at it,” and he would trot them out. He was such a nice person. He was a one-man scholarship bank. In my time, in just the years that I knew him, probably about thirty kids had their-- the tuitions that they owed that they couldn’t pay-- taken care of. [...] It was never formal-- nobody ever announced it, I certainly wouldn’t talk about it. But if it came to my attention that somebody needed help, I brought it to him. He’d just write a check. He was a very, very generous man. I’d been here all of two weeks at the time, and [Doreen Young] had a talk for the incoming freshman class. [There was] a slide of a Japanese painting. Kind of characteristically, it was not a painting filled with stuff, it was a spare looking painting. She knew how to elicit a response from the group. And then she said, right towards the end, “Do you know, if the painter had added two more lines, the painting would not have been this good? It would have spoiled the effect.” She said, “The painter had to exercise restraint.” And it was like a bomb. She was telling young people, sixteen year old people, who are just filled with life, that there is virtue to restraint, to not doing the next thing.https://digitalcommons.bard.edu/sr-oral_hist/1001/thumbnail.jp
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
Get PDFWe 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
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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