1,720,955 research outputs found
Creativity and Curatorship: Creative Industries Policy and the Changed Face of the Curatorial Sector in Aotearoa-New Zealand
No full textThe purpose of this research was to examine the impact of the discourses of the creative industries on the the curatorial sector in Aotearoa-New Zealand. In relation to this overarching aim, I explored two associated ideas: first, the positioning and interpolation of creativity in the sector, and second, changes in the discursive constructions of both curatorial work and the concept of the visitor. My interest in this research stemmed from my observations of changes that were taking place in the curatorial sector (Alexander, 1999; Boylan, 2006; Macdonald, 2003), and the influence of creative industries discourses (Cunningham, 2003; Florida, 2002; Hartley, 2005) on the cultural agenda in Aotearoa-New Zealand (Lawn, 2006; Prince, 2010; Volkerling, 2010). My aim was to investigate the influence of creative industries discourses on museums and galleries, on curators and the nature of work in the curatorial sector, and the construction of the curatorial ‘visitor’.
To that end, my research was designed around the following three research questions: (1) What are the controlling discourses that have informed and shaped the curatorial sector in Aotearoa-New Zealand, with particular attention to the period from 1992 to 2015? (2) In what ways do online and print materials for the curatorial sector position and construct the members of the public and their ‘visitor experience’? (3) What themes emerge from workers’ lived experience with regard to creativity and the performance of curatorial work? I employed a ‘mixed-methods’ (Testa, Livingston & VanZile-Tamsen, 2011) approach for data gathering and analysis: critical discourse analysis (Fairclough, 1992), semi-structured interviewing (Fontana & Frey, 2005) and thematic analysis (Boyatzis, 1998; Braun & Clarke, 2006).
My research produced findings that show significant changes have taken place in the curatorial sector in Aoteroa-New Zealand, and that the discourses of the creative industries have become naturalised and accepted as ‘common sense’ in the management of museums and galleries, as well as in the performance of contemporary curatorial work and the construction of the visitor “experience”
Creativity and Curatorship: Creative Industries Policy and the Changed Face of the Curatorial Sector in Aotearoa-New Zealand
No full textThe purpose of this research was to examine the impact of the discourses of the creative industries on the the curatorial sector in Aotearoa-New Zealand. In relation to this overarching aim, I explored two associated ideas: first, the positioning and interpolation of creativity in the sector, and second, changes in the discursive constructions of both curatorial work and the concept of the visitor. My interest in this research stemmed from my observations of changes that were taking place in the curatorial sector (Alexander, 1999; Boylan, 2006; Macdonald, 2003), and the influence of creative industries discourses (Cunningham, 2003; Florida, 2002; Hartley, 2005) on the cultural agenda in Aotearoa-New Zealand (Lawn, 2006; Prince, 2010; Volkerling, 2010). My aim was to investigate the influence of creative industries discourses on museums and galleries, on curators and the nature of work in the curatorial sector, and the construction of the curatorial ‘visitor’.
To that end, my research was designed around the following three research questions: (1) What are the controlling discourses that have informed and shaped the curatorial sector in Aotearoa-New Zealand, with particular attention to the period from 1992 to 2015? (2) In what ways do online and print materials for the curatorial sector position and construct the members of the public and their ‘visitor experience’? (3) What themes emerge from workers’ lived experience with regard to creativity and the performance of curatorial work? I employed a ‘mixed-methods’ (Testa, Livingston & VanZile-Tamsen, 2011) approach for data gathering and analysis: critical discourse analysis (Fairclough, 1992), semi-structured interviewing (Fontana & Frey, 2005) and thematic analysis (Boyatzis, 1998; Braun & Clarke, 2006).
My research produced findings that show significant changes have taken place in the curatorial sector in Aoteroa-New Zealand, and that the discourses of the creative industries have become naturalised and accepted as ‘common sense’ in the management of museums and galleries, as well as in the performance of contemporary curatorial work and the construction of the visitor “experience”
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
Suzanne Paul: Scandal, celebrity and the selling of an infomercial queen
Get PDFInfomercial queen, recording artist, bankrupt, dancing victor; Suzanne Paul was a fixture on New Zealand television for more than 15 years and has been celebrated, valorised, critiqued and embraced. Yet, perhaps because of her ‘low-end’ appeal, Paul’s place on our screens has not been rigorously investigated. In this article, we argue that Paul’s importance lies in three main areas. First, during the 1990s, she was responsible for the paradigmatic televisual form—the infomercial. Second, she can be understood as a liminal figure, and one who encapsulates the dilemma of cultural production as a ‘new New Zealander’. Third, her story offers a case study of how the nominally famous can move from using themselves to sell products to selling themselves as a product—the ultimate selling (of) celebrity. Further, we argue that Paul cannot be understood without reference to the centrality of scandal to her persona and, indeed, narrative as a celebrity. The first ‘act’ of her career saw the television (and advertising) industry scandalised by her undercutting their standards with cheap, almost deliberately unironic infomercial marketing; the second saw her attempt a transition to the mainstream before a spectacular business failure and bankruptcy; in the third she embraced her disgrace, remodelled her persona and won a reality television dancing programme. Ultimately, we contend that Paul’s career depended on a constant interplay between the carefully constructed appeal she projected and her responsibility for, and responses to, a semi-permanent state of scandal
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
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