1,720,993 research outputs found
New photographic practices: SCOPE
No full textNew Photographic Practices: SCOPE was designed by Alex Hough and Jake Hopwood for an exhibition held at the Visual Art Centre Gallery, Tsinghua University, Beijing featuring the work of photographers and filmmakers who all work at University of the Arts, London, including Chelsea’s BA Photography Course Director, Martin Newth
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No full textCatalogue of an exhibition held at the Faculty Gallery, Monash Art & Design, 8 February - 24 March 2007
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
Veil
No full textVEIL will feature two new works, Veil (2015) and Blackout (2016); both produced in part, as a result of a research residency in early 2014 at the Bemis Center for Contemporary Art, Omaha, Nebraska. Veil is a psycho-sexual film about sex, religion, guilt, ecstasy, free-will, cinematic pornography and love. We hear Dr. Patricia Lyons describes her relationship with masturbation, organized religion and the presence of the cinematic. We watch an abstract, evolving and fluid set of images pass before us: in scarlet red. Veil is a poetic, experimental expression/exploration of sexual identity clashing with religious doctrine. Blackout is a film about time, and the loss of time as experienced by a recently sober, 22 year-old woman. The narrator of the film discusses her history of experiencing black outs through drinking; covering a five year time period that culminated in a three-day time-loss, her last bender. Visually, the work stutters through black moments, punctuated by originally recorded, heavily-edited abstract and representational images. The combination of materials creates a visual upheaval that echoes the content of the narrative. These works adopt some of the methodologies (specifically the recorded interview) used by journalists, oral historians, anthropologists, criminologists and other social scientists and academics, and combines that approach with the literary device of creative non-fiction. The conceptual core of all of this new work is contained within voices, edited to operate as if the narrator is speaking directly to the audience. The timbre, pace, pauses and vocabulary of the narratives are constructed to emphasize and relate these personal accounts. The sources of these narratives are the result of hours of interviews that have been heavily edited, restructured and reduced to the length of a matter of minutes. The recorded interviews are edited, transcribed into text, and then re-edited textually to form a script. The final audio edit, follows the transcribed text-based script, creating narrative through a reversal of the conventional script-writing process. The constructed narratives within the artworks are positioned from the perspective of lived experience: anecdotal first person narratives, academic expertise and speculative opinion are represented within the films/ artworks and given equal weight in order to ask questions about the conditions and structures of both our religious and secular belief systems: our philosophical, social, political and academic foundations. Veil was shown in the Aesthetica Film festival in York in 2015 and as part of the film program at the Edinburgh Festival in 2016. Blackout has been shown in Aesthetica Film festival in York, Cork International Film Festival, Melbourne Underground Film Festival, New Orleans International Film Festival and the Oregon Independent Film Festival where it won Best Experimental Short Film, in 2016. In 2017, Blackout has been selected for the London Short Film Festival
Moving portraits
No full textMoving Portraits was a survey of moving-image based portraiture by artists during the past 60 years.
Jordan Baseman exhibited the piece, 'Cactasia!' in this exhibition
Los Angeles animation festival
No full textThe Los Angeles Animation Festival is an international film festival curated through invitation and selection. My film 'Nasty Piece of Stuff' was accepted and won Best Film in the Dangerous Experiments category
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