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Prediction model for multiblock data with or without intermediate blocks. Estimation by PLS Path Modeling
No full textAn important issue in modern science remains the integration of multiple data sources, considered as datasets divided into blocks of variables measured on the same set of observations. When analyzing these blocks, the path modeling approach aims to take into account a specific pattern of directed relations between them. This structure, usually set up from prior knowledge, leads to a path diagram in which the block's components are linked to one another. Until path modeling has gained popularity in recent decades, the issue of prediction has been surprisingly neglected in the literature. To fill this gap, we propose a prediction framework dedicated to the path modeling approach. Indeed, prediction for path modeling methods is of paramount interest for: (i) selecting the optimal model with cross-validation (e.g., optimal model specification and dimension), (ii) comparing the model with other relevant ones, (iii) or predicting new observations. Here, we propose an explicit formulation of a prediction model in the context of a path modeling structure. This generic prediction model is estimated using the PLS Path Modeling algorithm, denoted PMM-PLSPM (=Prediction Model for Multiblock data estimated by PLS Path Modeling). Nevertheless, its versatility makes it possible to adapt the approach to any other composite-based methods. Two estimation strategies (PLSPM-like and PLSR-like) are proposed for prediction, both being viewed as the structural model at the variable level. At the same time, the components of multiple blocks – obtained by a relevant deflation strategy – are handled to take advantage of the full multidimensional potential of blocks. The proposed prediction strategies are applied and evaluated on real data sets
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Bring Back the Noise: How Cariou v. Prince Will Revitalize Sampling
Full text linkIn 1988, John Carlin argued in an article in this Journal that fair use should be extended to cover works of appropriation art so as to protect appropriative artists from claims of copyright infringement. He wrote that “[a]n extension of fair use to cover artistic use through Appropriation would not compromise either the underlying logic of copyright law, or the intent of Congress in creating a legislative exception to copyright monopoly in the fair use doctrine.” In 1992, artist Jeff Koons unsuccessfully argued that one of his sculptures, which borrowed heavily from a photograph he purchased in a card shop, was fair use. But in 1994, the Supreme Court ruled that works of appropriation art do not inherently infringe on the original author’s copyright. Since then, courts have moved towards embracing Carlin’s view that copyright should encourage appropriation art by accepting such art as fair use, not condemn it by finding such art to be infringement. The most recent development came from the Second Circuit in Cariou v. Prince, where the court of appeals embraced perhaps the most expansive interpretation of fair use of any court yet. Up to this point, however, these cases have only involved visual art. This Note seeks to track the progress that courts have made towards accepting appropriation art as fair use and argues that the reasoning from recent cases dealing with visual art can also be applied to music
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
Bring Back the Noise: How Cariou v. Prince Will Revitalize Sampling
Full text linkIn 1988, John Carlin argued in an article in this Journal that fair use should be extended to cover works of appropriation art so as to protect appropriative artists from claims of copyright infringement. He wrote that “[a]n extension of fair use to cover artistic use through Appropriation would not compromise either the underlying logic of copyright law, or the intent of Congress in creating a legislative exception to copyright monopoly in the fair use doctrine.” In 1992, artist Jeff Koons unsuccessfully argued that one of his sculptures, which borrowed heavily from a photograph he purchased in a card shop, was fair use. But in 1994, the Supreme Court ruled that works of appropriation art do not inherently infringe on the original author’s copyright. Since then, courts have moved towards embracing Carlin’s view that copyright should encourage appropriation art by accepting such art as fair use, not condemn it by finding such art to be infringement. The most recent development came from the Second Circuit in Cariou v. Prince, where the court of appeals embraced perhaps the most expansive interpretation of fair use of any court yet. Up to this point, however, these cases have only involved visual art. This Note seeks to track the progress that courts have made towards accepting appropriation art as fair use and argues that the reasoning from recent cases dealing with visual art can also be applied to music
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
Akseptabel appropriasjon? Appropriasjonskunst i opphavsrettslig konflikt: En studie av verksserien Canal Zone og påfølgende rettsak Cariou v. Prince.
No full textKunstneren Richard Prince har arbeidet med appropriasjonskunst siden slutten av 1970-tallet. I en tid da billedkunstnere og kunstkritikere strevde med å akseptere de romantiske forståelsene av kunstnerisk originalitet og autentisitet, tok de i bruk bilder og idéer for å kommentere hvor konstruert de visuelle inntrykkene var i samfunnet. Forbrukssamfunnet ble overlesset av billedlig stimuli i reklame og annonser. Richard Prince begynner som så mange andre å appropriere fra disse visuelle kildene. Han utvikler stilen, begynner å male over appropriasjonene, men bryr seg lite om hvor han henter kildematerialene sine fra. Vinteren 2008 har Richard Prince utstilling på Gallery Gagosian i New York med verksserien Canal Zone. Verkene selger godt og omsetter for over 10 millioner amerikanske dollar. Men det er et problem. I de 30 verkene i serien, har han brukt over 40 fotografier fra boken Yes Rasta. Disse har han appropriert med å skanne og så printet ut på lerret. Deretter har han malt over dem. Boken Yes Rasta ble utgitt i 2000 av fotografen Patrick Cariou. Han hadde brukt seks år på å fotografere rastafarier som holder til i fjellområdene på øya Jamaica. En kultur få utenifra har fått innpass i. Når Cariou blir klar over at Prince har utnyttet hans fotografier uten å spørre om tillatelse går han til rettsak. Problemstillingen for oppgaven er: Hvilke konflikter sees mellom det kunstneriske og det juridiske i verksserien Canal Zone og den påfølgende rettslige saken Cariou v. Prince? I oppgaven fokuseres det på rettsprosessen fotografen Patrick Cariou og kunstneren Richard Prince går gjennom i saken Cariou v. Prince. Saken er avgrenset i tid fra 2008-2014. Rettslige konflikter er lite behandlet i den kunsthistoriske litteraturen. Problemområdet knyttet til opphavsrettens bestemmelser blir presentert og spesielt uklarhetene om grensegangen mellom når et appropriasjonsverk blir å regne for å være et åndsverk. I første rettsrunde taper Prince, men i anken blir han frikjent for krenkelse av opphavsretten til Cariou i 25 av 30 Canal Zone-verk. Saken blir forsøkt anket til høyesterett, men avvises og partene kommer til forlik. Konflikten blir tolket gjennom en diskursanalyse. Det problematiseres at retten gjør estetiske vurderinger og konsekvenser av den nye standarden for å vurdere hva som skal regnes for å være lovlig bruk av andres åndsverk. Kjennelsen åpner for usikkerhet for kunstfeltet og for videre lovgiving. Rettslige dommer viser seg å kunne gi uheldige virkinger i kunstfeltet. Til slutt diskuteres hvem som definerer hva som er kunstverk og hva som er åndsverk
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
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
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