1,720,972 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
Curatorship to and in the public space : a study from the vector transformations of the public space - a permantent exhibition of the fifth Mercosur Biennial
No full textNa perspectiva da História das Exposições, a Bienal do Mercosul se consolidou como modelo de estudo e exemplo, e tem sua importância e representatividade entre as grandes exposições de arte no mundo. A 5ª Bienal do Mercosul ocorreu em 2005, com curadoria de Paulo Sergio Duarte, e o projeto curatorial, intitulado Histórias da Arte e do Espaço, apresentou a exposição dividida em quatro grandes vetores. No vetor Transformações do Espaço Público, foram comissionadas 04 (quatro) obras permanentes, projetadas pelos artistas Carmela Gross, José Resende, Mauro Fuke e Waltercio Caldas, e que ficaram como legado da Bienal à cidade, passando a fazer parte do acervo de Arte Pública de Porto Alegre, e ampliando o contato e possibilidades de reflexão do público a partir da arte contemporânea. Este estudo se propõe a abordar aspectos do projeto curatorial, no que tange à presença da arte pública, e realizar uma análise comparativa entre a condição do conjunto de obras de arte permanente na Orla do Guaíba, à época da instalação na 5ª Bienal, e, após a execução do projeto de revitalização do espaço que foi inaugurado em 2018, recebendo o nome de Orla Moacyr Scliar. Tendo em vista se tratarem de obras site-specific/ site-specificity, a pesquisa busca identificar elementos da integração das obras de arte ao projeto. A metodologia se constituiu de consultas a acervos documentais institucionais, publicações acadêmicas, catálogos, periódicos, sites e mídia eletrônica, e do levantamento de informações junto a agentes envolvidos nos projetos da Bienal e da revitalização da Orla.From the perspective of the History of Exhibitions, the Mercosur Biennial has consolidated itself as a model of study and example, and has its importance and representation among the great art exhibitions in the world. The 5 th Mercosur Biennial took place in 2005 and was curated by Paulo Sergio Duarte, and the curatorial project entitled Histories of Art and Space, presented the exhibition divided in four major vectors. In the vector Transformations of the Public Space, four permanent works were commissioned and designed by the artists Carmela Gross, José Resende, Mauro Fuke and Waltercio Caldas, which were given to the city as a legacy from the Biennal, becoming part of the collection of Porto Alegre’s Public Art, expanding the contact and the possibilities of reflection of the public from the contemporary art. This study propose to address aspects of the curatorial project in terms of the presence of the public art, and perform a comparative analysis among the condition of the set of permanent artworks at Orla do Guaíba to the installation time in the 5 th Biennial, and after the execution of the revitalization project of the space, which was opened in 2018, receiving the name of Orla Moacyr Scliar. Considering that they are site-specific/ site-specificity works, the research seeks to identify elements of the integration of the artworks to the project. The methodology was consisted of consultations to documental and institutional collections, academic publications, catalogues, journals, websites and electronic media, and of the collection of information from the agents involved in the Biennial projects and the revitalization of the Orl
X Bienal de São Paulo : uma análise sobre o boicote e a representação nacional em 1969
Get PDFEste artigo consiste em um estudo sobre a X Bienal de São Paulo de 1969, mais conhecida como Bienal do Boicote, que se notabilizou por ser uma mostra diferente do que já havia sido visto até o momento no Brasil em termos de articulação. Artistas brasileiros e de diversas delegações internacionais se mobilizaram para boicotar e não participar da Bienal de 1969. Por outro lado, vários outros artistas decidiram expor suas obras. Portanto, este estudo visa mostrar de forma sintetizada o boicote pelo lado de artistas e críticos de arte que aderiram e a representação nacional com os artistas que decidiram expor, bem como a organização brasileira naquele ano. Importante destacar, como forma de esclarecer o contexto histórico dessa bienal, que em meio à ditadura milita brasileira, o ano de 1969 foi o primeiro com o Ato Institucional – 5 (AI-5) vigente. O recrudescimento da censura às artes e à imprensa, da repressão, da violência foi rapidamente instaurado no Brasil, causando diretamente uma série de consequências que denominou a partir de 1968 aquele tempo como os “anos de chumbo”.This article consists of a study on the X Bienal de São Paulo of 1969, better known as the Boycott Biennial, which was notable for being a exposition different from what had been seen so far in Brazil in terms of articulation. Brazilian artists and artists from various international delegations mobilized to boycott and not participate in the 1969 biennial. On the other hand, several artists decided to exhibit their works. Therefore, this study aims to explain the boycott by the artists and art critics who joined and the national representation with the artists who decided to exhibit, as well as the brazilian organization that year. It is importante to highlight, as a way of clarifying the historical to of this biennial, that in the Brazilian military dictatorship, 1969 was the first year with the Institutional Act – 5 (AI-5) in force. The resurgence of censorship of the arts and the press, of repression, of violence was quickly established in Brazil, directly causing a series of consequences that from 1968 onwards called that time as the “years of lead”
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
The exposed face of the exposed design : exhibition “Forma e Matéria | Claudia Moreira Salles”
No full textEste artigo avalia como o Design Exposto articula o seu argumento curatorial, quando os objetos do cotidiano estão deslocados do seu ambiente habitual. Fora de contexto, móveis, utensílios e demais elementos distintos do objeto artístico por suas características funcionais inerentes, ganham novos contornos e significados quando expostos em instituições culturais? Quais? E ainda, como se constroem suas narrativas neste caso? Para tal, foi avaliada a exposição “Forma e Matéria | Claudia Moreira Salles” exibida no Museu Oscar Niemeyer, do final de 2021 ao início de 2022, como ponto de partida para as reflexões que se baseiam, principalmente, nas dimensões projetuais como valores em potencial a oferecer diálogo com os públicos. Sendo assim, o que se procurou explicitar foram os aspectos associados à própria natureza dos elementos expostos, do fator antropológico ao geométrico; do ecológico ao econômico; do ergonômico ao tecnológico, como possibilidades de estratégia curatorial.This article assesses how Design Exposed articulates its curatorial argument, when everyday objects are displaced from their usual environment. Out of context, do furniture, utensils and other elements distinct from the artistic object, due to their inherent functional characteristics, gain new contours and meanings when exposed in cultural institutions? Which are? And yet, how are their narratives constructed in this case? To this end, the exhibition “Forma e Matéria | Claudia Moreira Salles” exhibited at the Oscar Niemeyer Museum, from the end of 2021 to the beginning of 2022, as a starting point for reflections that are based mainly on project dimensions as potential values to offer dialogue with the public. Therefore, what we tried to explain were the aspects associated with the very nature of the exposed elements, from the anthropological to the geometric factors; from ecological to economic; from ergonomic to technological, as possibilities of curatorial strategy
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