1,720,969 research outputs found
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
Generating Design with Value: Educating the Disgner of the 21st Century
No full text‘Modern design education,’ explains Michael Bierut of Pentagram, ‘is essentially value-free: every problem has a purely visual solution that exists outside any cultural context’ (Bierut, 2012). Graphic Design education is often structured around two common themes: the introduction of technological skill sets for production and the broad stylistic skills needed for a solid portfolio of work. These two streams, whilst essential in the education of a designer, often ignore the element of wider design thinking skills that are the key to the development of a successful design practitioner. Creative problem solving has always been the focus of design schools, however this method is often narrowly applied to the confines of a specific outcome: the design of a product, packaging, or logo-type to suit a particular client or style. Design Thinking, by contrast, is a methodology that expands the creative thinking process beyond the traditional constraints and challenges the designer to shift their thinking from the specific problem to the wider task at hand. ‘The problems that challenged designers in the twentieth century – crafting a new object, creating a new logo are simply not the problems that will define the twenty-first,’ explains Design Thinking guru Tim Brown (2009, p.37). In the recently revised Bachelor of Graphic Design at the University of Canberra, our projects are designed around creating value in the evolving social landscape of Australia, equipping students with the knowledge and foresight to solve current and emerging design problems. This paper will outline the techniques and projects utilized in the program at UC to facilitate design thinking
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
Design Process, Design Research and Research Design in the Context Of Postgraduate Art & Design Education
No full textThis paper sets out to clarify the relationship between the ‘research process’ and the ‘design process’ in the context of research in postgraduate Art & Design education. The relationship between these processes is not well understood, and this is further complicated by terms such as ‘research design’ and ‘design thinking’ when applied to planning research activities, including selecting the qualitative and quantitative methods employed. In addition, ‘practice-based research’ is still controversial in terms of traditional academic research, and its acceptance varies in different countries and art and design schools. However, as will be explained, the ‘research process’ and the ‘design process’ valuable analogous functions which enhance the research outcomes when applied sensibly. This paper will use process modelling tools, diagrams and pragmatic experience from supervising PhD projects to show how the research and design processes are interrelated leading to better informed research experiences for students and supervisors
Design Process, Design Research and Research Design in the Context Of Postgraduate Art & Design Education
No full textThis paper sets out to clarify the relationship between the ‘research process’ and the ‘design process’ in the context of research in postgraduate Art & Design education. The relationship between these processes is not well understood, and this is further complicated by terms such as ‘research design’ and ‘design thinking’ when applied to planning research activities, including selecting the qualitative and quantitative methods employed. In addition, ‘practice-based research’ is still controversial in terms of traditional academic research, and its acceptance varies in different countries and art and design schools. However, as will be explained, the ‘research process’ and the ‘design process’ valuable analogous functions which enhance the research outcomes when applied sensibly. This paper will use process modelling tools, diagrams and pragmatic experience from supervising PhD projects to show how the research and design processes are interrelated leading to better informed research experiences for students and supervisors
Art school galleries : relevance in the 21st century?
No full textThere is a growing body of literature engaging with the shifting role galleries play in the education of artists and curators. Rather than presenting exhibitions in front of which students are unchallenged and unengaged, an emerging trend is the shift from educational programming being attached as an addendum to exhibition programs, to educational methods, programs and processes being integrated into the gallery structures and curatorial frameworks. As Paul O’Neil and Mick Wilson assert in Curating and the Educational Turn, ‘curating increasingly operates as an expanded educational praxis.’ There is a sophisticated role to be played by galleries in the university environment and the need to recognise that ‘debates and discursive practices’ often merely considered to be collateral to exhibitions…have become central to contemporary practice…increasingly, they are framed in terms of education, research, knowledge production and learning.'
Generating Design with Value: Educating the Disgner of the 21st Century
No full text‘Modern design education,’ explains Michael Bierut of Pentagram, ‘is essentially value-free: every problem has a purely visual solution that exists outside any cultural context’ (Bierut, 2012). Graphic Design education is often structured around two common themes: the introduction of technological skill sets for production and the broad stylistic skills needed for a solid portfolio of work. These two streams, whilst essential in the education of a designer, often ignore the element of wider design thinking skills that are the key to the development of a successful design practitioner. Creative problem solving has always been the focus of design schools, however this method is often narrowly applied to the confines of a specific outcome: the design of a product, packaging, or logo-type to suit a particular client or style. Design Thinking, by contrast, is a methodology that expands the creative thinking process beyond the traditional constraints and challenges the designer to shift their thinking from the specific problem to the wider task at hand. ‘The problems that challenged designers in the twentieth century – crafting a new object, creating a new logo are simply not the problems that will define the twenty-first,’ explains Design Thinking guru Tim Brown (2009, p.37). In the recently revised Bachelor of Graphic Design at the University of Canberra, our projects are designed around creating value in the evolving social landscape of Australia, equipping students with the knowledge and foresight to solve current and emerging design problems. This paper will outline the techniques and projects utilized in the program at UC to facilitate design thinking
Research Training in the Creative Disciplines: The 'Double Doctorate, the 'Clayton's PhD', or 'a New Kind of Practice'?
No full textThis paper emerges out of our recent OLT-funded project into an examination of creative doctorates; some recent ALTC-funded projects on the same topic (Webb and Brien, on creative writing, 2008; Philips, Stock and Vincs, on dance, 2009; Baker, Buckley and Kett, on visual art, 2009); and a handful of investigations conducted in the UK (Wisker et al., on doctoral learning, 2010; Hefce, trends in doctoral education, 2011; AHRC, research review, 2007). These official reports are supported by a body of research publications covering the same issue: what it means to conduct research in and through creative practice, and what constitutes a doctorate in this mode. While the creative community has built knowledge on this topic over the past decade, the information we have gathered from our respondents makes it clear that, whether in policy, practice or discourse, there is considerable uncertainty about this area of research training. Comments offered by our respondents present three distinct perspectives on the creative doctorate, identifying it variously as a ‘double doctorate’, a ‘Clayton’s PhD’, or as ‘a new kind of practice’. None of these epithets reflect the picture of creative doctorates presented in the policy documents that govern research training in the arts in Australian universities; but they provide a very clear picture of the experiences of individual candidates, supervisors and examiners in creative disciplines. We suggest a way of reading the gap between policy and practice, and how that gap might provide a way of re-thinking this aspect of contemporary art and design educatio
- …
