1,720,958 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
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
A escuta declinada em “theatre piece”, de john cage
Get PDFThe legacy of John Cage is placed within the limits of sound abstraction based on an instructional musical notation of high expositive visual value. Ever since the fifties and until the publication of Silencio (1961), the pantheistic compositions that we will present here will respond to the discovery of a new type of “tempered” events configuration based on the oracular I Ching. Its philosophical primogeniture will run the risk of falling into an ephemeral conceptual entropy if the measure of time to face the event is not taken into account, as a result of the pedagogical professional practice in our case. Transiting randomness in works such as Theatre Piece (1960) proposes the sharing of a familiar dialogue of nascent sound practices for every discipline. The sterility that Cage’s pantheistic work has undergone in the last thirty years has made it possible to dismantle the conceptual conflict implied by the dematerialization of the sound fact. The lack of foundation that we seek here has to do with a new reading of the hybrid contemporaneity in the creative encounter that reveals a procedural and disruptive methodology in Latin America capable of transforming the capacity of the institutional strategies by transmitting collectivities. The silent proposal with which Cage dismantles the de-sterilizing Western knowledge allows contemporary stage practices to feel the need to de-materialize the musical nature in favor of a tribute to the mediating space after favoring theThe legacy of John Cage is placed within the limits of sound abstraction based on an instructional musical notation of high expositive visual value. Ever since the fifties and until the publication of Silencio (1961), the pantheistic compositions that we will present here will respond to the discovery of a new type of “tempered” events configuration based on the oracular I Ching. Its philosophical primogeniture will run the risk of falling into an ephemeral conceptual entropy if the measure of time to face the event is not taken into account, as a result of the pedagogical professional practice in our case. Transiting randomness in works such as Theatre Piece (1960) proposes the sharing of a familiar dialogue of nascent sound practices for every discipline. The sterility that Cage’s pantheistic work has undergone in the last thirty years has made it possible to dismantle the conceptual conflict implied by the dematerialization of the sound fact. The lack of foundation that we seek here has to do with a new reading of the hybrid contemporaneity in the creative encounter that reveals a procedural and disruptive methodology in Latin America capable of transforming the capacity of the institutional strategies by transmitting collectivities. The silent proposal with which Cage dismantles the de-sterilizing Western knowledge allows contemporary stage practices to feel the need to de-materialize the musical nature in favor of a tribute to the mediating space after favoring theEl legado de John Cage se sitúa en los límites de la abstracción sonora a partir de una notación musical instruccionalizada y de alto valor visual expositivo. Desde la década de los cincuenta hasta la publicación de Silencio (1961), las composiciones de tipo panteístico que aquí señalaremos responderán al descubrimiento de un nuevo tipo de configuración de eventos “temperados” a partir del oracular I Ching. Su mayorazgo filosófico correrá el riesgo de caer en una efímera entropía conceptual si no se tiene en cuenta la medida del tiempo para enfrentarse al evento, consecuente de la práctica pedagógica profesional en nuestro caso. Transitar la aleatoriedad en trabajos como Theatre Piece (1960) propone compartir un diálogo familiar de prácticas sonoras nacientes para cada disciplina. La esterilidad que ha sufrido la obra panteística de Cage en los últimos treinta años ha posibilitado desmarañar el conflicto conceptual que implica la desmaterialización del hecho sonoro. La desfundamentación que aquí buscamos tiene que ver con una relectura de la contemporaneidad híbrida en el encuentro creativo que hace visible una metodología procesual y disruptiva en América Latina capaz de transformar la capacidad de las estrategias institucionales transmitiendo colectividades. La propuesta silenciosa con la que Cage desordena la sabiduría occidental des-esterilizante permite a las prácticas escénicas contemporáneas sentir la necesidad de desmaterializar la naturaleza musical a favor de un tributo al espacio mediador tras favorecer los debates intergeneracionales en, desde y para lo sonoro.O legado de John Cage situa-se nos limites da abstração sonora a partir de uma notação musical instrucionalizada e de alto valor visual expositivo. Desde a década dos cinquenta até a publicação de Silencio (1961), as composições de tipo panteístico que aqui destacaremos responderão ao descobrimento de um novo tipo de configuração de eventos “temperados” a partir do oracular I Ching. Sua primogenitura filosófica correrá o risco de cair em uma efêmera entropia conceitual se não se leva em conta a medida do tempo para enfrentar-se ao evento, consequente da prática pedagógica profissional em nosso caso. Transitar a aleatoriedade em trabalhos como Theatre Piece (1960) sugere compartilhar um diálogo familiar de práticas sonoras nascentes para cada disciplina. A esterilidade que a obra panteística de Cage tem sofrido nos últimos trinta anos tem possibilitado desmaranhar o conflito conceitual que implica a desmaterialização do fato sonoro. A desfundamentação que aqui buscamos tem que ver com uma releitura da contemporaneidade híbrida no encontro criativo que revela uma metodologia processual e disruptiva na América Latina capaz de transformar a capacidade das estratégias institucionais transmitindo coletividades. A proposta silenciosa com a que Cage desordena a sabedoria ocidental de desesterilização permite às práticas cênicas contemporâneas sentir a necessidade de desmaterializar a natureza musical a favor de um tributo ao espaço mediador após favorecer os debates Inter geracionais em, desde, e para o sonoro
correspondencias estéticas - Trabajo Preliminar No. 2.
No full textEnsayos de los Docentes de la Universidad de las Artes denominados "Preliminar".¿Cómo podemos entender la experiencia de la escucha histórica en el presente? ¿Cómo se dan, en el contacto de lo estético, las mediaciones de las músicas academicistas del pasado? ¿Está agotada la escucha de la producción beethoveniana en el contexto de la formación de los artistas en la actualidad? Hoy, en Beethoven se esboza, a caballo entre el clasicismo y el romanticismo musical, lo trascendente en la libertad de las formas y la actitud del genio que se presenta en un marco efectivo, idealista y actualizado entre las contexturas de la Ilustración..
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