1,720,963 research outputs found
A meeting that begins in silence
No full textThe present article revisits what seems to be the difficulty of intermediary artistic venues in recounting their experiences, transmitting them and thereby contributing to the constitution of a culture of forebears, a difficulty largely due to the status of the document and the gesture of documentation within the field of contemporary creation. Based on an action-research carried out on the archives of the La Déviation collective (Marseille, France), the article explores the contributions of decolonial perspectives on the archive, in terms of the nature of archival work and the role of the archivist - notably through the work of Michelle Caswell - in facilitating communities' access to their own history and "resocializing the archive" (Samia Henni)
Faire récit, faire outil ::pour une pragmatique de l’archive
No full textCet article revient sur le travail archivistique que j'ai réalisé avec et auprès des archives produites par le collectif de La Déviation (Marseille) entre 2019 et 2021, dans le cadre de ma thèse de doctorat (HES-SO HEAD—Genève et LaSUR EPFL) En plus de déplier la cuisine interne de ce travail archivistique qui a donné lieu à la création d'un certain nombre d'outil de visualisation des données de l'archive, j'y reviens sur les enjeux des pratiques d'écriture mémorielle dans la constitution d'une culture des précédents fondée sur l'expérience située des initiatives collectives
Quand les artistes font forme en habitant ensemble. Usages, présences, imaginaires.
No full textInternational audienceTaking root within a historical and transversal perspective of communities of artists at work, and of the relationship that they nourish with the places that host their creative activity, the present research intends to bring to light the grammars of “the commonality in the plural” such as they are composed at the crossroads between “living together” and “working as an artist”. It thus aims to offer a pragmatic turn to the activity of creating artworks, or more broadly forms, in order to consider the latter as a specific regime of engagement (THEVENOT 2014). In order to do so, the research gets a foothold in the pragmatic examination of two collectives of artists, who contribute to shape, build, and fabricate the place where they both inhabit and carry out their professional activity, in a diffuse and almost permanent way. From this observation, it points to a certain number of displacements as to the way in which uses, presences and imaginaries are put into play and into practice, from the activity of inhabiting and of the one that consists in creating forms. Opening the way to a de-hierarchization of the gestures of the making, the activity of fabricating the commonplace serves here as point of anchorage of an “art in use”. Operating under the auspices of a heterodox, idiosyncratic and singularizing use of the technique, this “making together” favors a singular attentional and somatic opening, as well as a regime of engagement that one can qualify “of resonance in presence” (THÉVENOT 2019). Finally, in view ofthe imaginary, the narratives that are forged from the singular and familiar experience that people have of the place they build together, weave a “commonality in affinity”, which contribute to make the “communities of practice” porous (ZEMBYLAS and DÜRR 2009). The research is based on participant observation, as well as on archival research, in three places of life and artistic work which are the artistic residency and former artists’ colony Moly-Sabata (Sablons, France); the place of research and artistic experimentations, La Déviation (Marseille, France), and bermuda, shared workshops of production and research in contemporary arts (Sergy, France)Prenant pied au sein d’une mise en perspective historique et transversale des communautés d’artistes au travail et du rapport que ces dernières entretiennent avec les lieux qui accueillent leur activité créatrice, la présente recherche entend mettre au jour les grammaires du « commun au pluriel », telles qu’elles se composent au croisement entre un « habiter ensemble » et un « travailler en artiste ». Elle vise en cela à offrir un tournant pragmatique à l’activité qui consiste à créer des œuvres, ou plus largement des formes,afin d’envisager cette dernière comme un régime d’engagement dans l’action spécifique. À partir de l’examen pragmatique de l’activité de fabrication de deux lieux de vie et de travail, à laquelle se livrent les collectifs qui contribuent à les façonner de manière diffuse et quasi permanente, la recherche fait ainsi état d’un certain nombre de déplacements quant à la façon dont sont mis en jeu et en pratique, usages, présences et imaginaires, depuis le lieu de l’habiter et de l’activité qui consiste à créer des formes. Ouvrant la voie à une dé-hiérarchisation des gestes du faire, l’activité de fabrication du lieu commun sert de point d’ancrage et de mise en pratique d’un « art en usage ». Opérant sous les auspices d’un usage hétérodoxe, idiosyncratique et singularisant de la technique, ce « fabriquer ensemble » favorise une ouverture attentionnelle et somatique singulière, ainsi qu’un engagement dans l’action que l’on peut qualifier« de résonance en présence » (THÉVENOT 2019). Sur le terrain des imaginaires enfin,les mises en récit qui se forgent depuis l’expérience singulière et en familiarité que les personnes font du lieu qu’iels construisent ensemble, tissent un commun en affinité,qui rend poreuses les « communautés de pratiques » (ZEMBYLAS et DÜRR 2009). Pour se faire, la recherche s’appuie sur des terrains en observation participante, ainsi que sur une recherche archivistique, auprès de trois lieux de vie et de travail artistique que sont la résidence et ancienne colonie d’artistes Moly-Sabata (Sablons, France) ; le lieu de recherche et d’expérimentations artistiques La Déviation (Marseille, France), et bermuda,ateliers mutualisés de production et de recherche en arts contemporains (Sergy, France)
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
Quand les artistes font forme en habitant ensemble. Usages, présences, imaginaires.
No full textTaking root within a historical and transversal perspective of communities of artists at work, and of the relationship that they nourish with the places that host their creative activity, the present research intends to bring to light the grammars of "the commonality in the plural" such as they are composed at the crossroads between a "living together" and a "working as an artist". It thus aims to offer a pragmatic turn to the activity of creating artworks, or more broadly forms, in order to consider the latter as a specific regime of engagement (THEVENOT 2014). In order to do so, the research gets a foothold in the pragmatic examination of two collectives of artists, who contribute to shape, build, and fabricate the place where they both inhabit and carry out their professional activity, in a diffuse and almost permanent way. From this observation, it points to a certain number of displacements as to the way in which uses, presences and imaginaries are put into play and into practice, from the activity of inhabiting and of the one that consists in creating forms. Opening the way to a de-hierarchization of the gestures of the making, the activity of fabricating the common place serves here as point of anchorage of an "art in use". Operating under the auspices of a heterodox, idiosyncratic and singularizing use of the technique, this "making together" favors a singular attentional and somatic opening, as well as a regime of engagement that one can qualify "of resonance in presence" (THÉVENOT 2019). Finally, in view of the imaginary, the narratives that are forged from the singular and familiar experience that people have of the place they build together, weave a "commonality in affinity", which contribute to make the "communities of practice" porous (ZEMBYLAS and DÜRR 2009). The research is based on participant observation, as well as on archival research, in three places of life and artistic work which are the artistic residency and former artists' colony Moly-Sabata (Sablons, France); the place of research and artistic experimentations, La Déviation (Marseille, France), and bermuda, shared workshops of production and research in contemporary arts (Sergy, France)LASU
Formes de vies d'artistes ::entretien avec Mathilde Chénin
No full textCherchant à échapper au modèle proposé par les institutions ou les entreprises privées de la friche à occuper temporairement, des collectifs d’artistes repensent le vivre et le travailler ensemble en faisant l’acquisition
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
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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