1,721,032 research outputs found
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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
Full text linkWe 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
Attending, listening, taking time: the quietly radical ethical practice of the filmmaker Jenny Gilbertson
Full text linkJenny Gilbertson, an independent self-funded filmmaker, lived and filmed Shetland communities in the 1930s, then, after a teaching career, Inuit communities in Arctic Canada from 1970–1978. Keen to develop a practice that resists the extractive nature of documentary production and a determination to foreground Gilbertson as an ethical filmmaker, in this thesis, I ask what can contemporary filmmakers learn from her way of living with and filming an Indigenous community?
Ethical debate in documentary filmmaking is largely dominated by the protection of the filmmaker’s property (the film) through copyright, consent and freedom of expression. Yet this strengthening of ownership cannot deny the very nature of documentary, which is extractive and assimilatory. Gilbertson’s approach was quietly different: shaped by the valuing of friendship, community and reciprocity, it resulted in a portrayal of Inuit by a qallunaaq (white person) that was unlike any other at that time.
Using the three experiential events of archival research (including close readings of Gilbertson’s diaries, her last film, Jenny’s Arctic diary (1978) filmed in Grise Fiord and her newly digitised Arctic Sound Recordings from 1970–1978); fieldwork (filming and interviews carried out in Grise Fiord in 2018); and the editing process, I used my buddhist practice and theory as liberatory practice to deepen and develop the ethics – thinking and caring – in my filmmaking practice.
Recognising the 40 years of political and cultural change between Gilbertson and myself, I consider the daily business of documenting people and place and how in thinking and caring about those you film, you confront and negotiate desire, responsibility and possibility, all within the context of a relationship, a project, an industry, a technology, a budget, and, significantly, the history of the other. My written thesis draws on these confrontations and negotiations to examine Iris Murdoch and Simone Weil’s theories of attention and Pauline Oliveros, Dylan Robinson and Salomé Voegelin’s approaches to listening and sounding, I consider both Gilbertson’s and my own attempts to resist ‘taking’ from and ‘using’ the people we filmed and recorded and where this sits alongside our shared overriding desire to make community and kin.
The outcome of this liberatory theory on my practice research is a 75-minute film in which I go ‘with’ Gilbertson to Grise Fiord. In this I learn about her time there, the people and things she looked at, listened to and spent time with. Using this time between Gilbertson and myself, I present a visual and sonic reflection of Gilbertson’s practice through my own and reveal the ways in which attending, listening and putting the filmed before the film can generate ethical possibilities that interrupt the norms of documentary filmmaking
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe 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
Sonata
No full textSonata (2013)
Composition and film installation
Filmed on location in the Non-Catholic Cemetery, Rome, 5 May 2013
Supported by Creative Scotland Visual Arts Award £10,000
Sonata is a composition for piano, cello and violin based upon the speech, poems and letters of three poets buried in the Non-Catholic Cemetery: the English Romantic poets John Keats (1795-1821) and Percy Bysshe Shelley (1792-1822) and the US Beat Poet, Gregory Corso (1930-2001).
The composition is in three movements:
I - Lift Me Up For I Am Dying
The first movement is an evolution of the composition, Lift Me Up For I Am Dying based upon the last spoken words of Keats. Lift Me Up For I Am Dying was commissioned by the Swiss Institute in Rome (2010) and formed the basis for Duet, an audio installation at the Rothko Chapel, Houston, 14-15 May 2013.
II - Adonais - Adagio
The second movement is based upon lines from Shelley’s long poem of lament, Adonais, An Elegy on the Death of John Keats, Author of Endymion, Hyperion, etc. (1821). Shelley, who had also lived in the house on Piazza di Spagna in which Keats died, considered Adonais to be among his best compositions. When Shelley drowned in the Bay of Spezia he was found with a volume of Keats’ poems in his shirt pocket.
III - Letters from Rome
The final movement is based upon three letters written by Corso upon a visit to the graves of Keats and Shelley in the Non-Catholic Cemetery on the anniversary of Keats’ birthday in 1958. Corso’s letters were addressed to his fellow beat poets: Phillip Whalen, Allen Ginsburg, and Lawrence Ferlinghetti. Corso’s ashes were buried at the foot of Shelley’s grave in the Non-Catholic Cemetery on 5 May 2001.
Sonata performed by Da Vinci Trio:
Violin: Tony Moffat, Leader of the Orchestra of Scottish Opera
Cello: Robert Irvine, Head of Chamber Music at the Royal Conservatoire, Scotland
Piano: Mario Montore, Leader of the Avos Quartet, Rome
Filming was preceded by a public recital introduced by Adam Szymczyk, Director of Kunsthalle Basel.
With thanks to:
Amanda Thursfield, Director
THE NON-CATHOLIC CEMETERY IN ROME,
via Caio Cestio, 6, 00153, Roma
Ross Birrell, Duet, Keats-Shelley House,
Piazza di Spagna, 26, 13 May - 6 September 2013
First exhibited in Ross Birrell and David Harding, Winter Line, Kunsthalle Basel, 17 Jan - 23 Ma3 2014.
Performed by DaVinci Trio at Museumsnacht, Kunsthalle Basel, 17 Jan 2014
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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