1,720,970 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
Beneath the Front Panel, Accessibility? Revisiting the Commercial Modular Synthesizer in the age of NIME
Get PDFThe annual international conference on New Interfaces for Musical Expression (NIME) was founded in 2001 (Fasciani and Goode, 2021) and its community of designers and performers has grown significantly over the last two decades. Reflecting better understanding of the demands placed on players by traditional instruments and how these can limit participation, recent years have seen increased emphasis on accessibility and diversity (NIME, 2023), as well as critique of NIME’s focus on newness (Morreale et al., 2023). However, if there are few examples of widely adopted NIMEs in general, there are still fewer examples of their long-term use by disabled players. This is partly because many candidate accessible NIMEs are player or disability-specific, but it also reflects that the majority of accessibility-oriented NIMEs still do not meaningfully involve disabled people in their design.
Early commercial electronic musical instruments (CEMIs) such as the theremin (1920) and Moog’s modular synthesizer (1964) are seemingly extremely well known (to the extent that they are culturally significant), but there has been little exploration of their potentials as accessible instruments. Drawing on autoethnography as a research method, as well as music-historical and HCI research, the author reflects on their dual experiences as a one-handed (amateur) musician and a NIME practitioner-researcher for seventeen years. More specifically, this presentation examines the potentials of a small Eurorack synthesizer as a one-handed instrument, including consideration of three dedicated interaction strategies applicable to performance and composition. This is followed by broader discussion of accessibility and modular synthesizers, including aspects such as tactility, adaptability, and mass customisability. The presentation concludes with suggested directions for future work
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
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
(Just Like) Starting Over? What traditional instruments can – and can’t – tell us about DMIs and disability
No full textFounded in 2001, the New Interfaces for Musical Expression (NIME) conference series has become a prominent annual platform and showcase for new instruments and related developments, and a sizeable community has developed around it. A significant number of accessible musical instruments have been presented at NIME, and increased interest in the area has been noted by Frid and Ilsar (2021). At the same time, the lead author of this paper—a congenitally one-handed new instrument designer and player—and Australian Digital Musical Instrument (DMI) designer-performer Andrew McMillan, are, to the best of our knowledge, the only physically disabled designers of new instruments to have presented autobiographically related work in the NIME era.
If the efforts of Drake Music, The OHMI Trust, and some members of the NIME community mean that one-handed players and other disabled musicians likely have more options today than ever before, it is vital to ask why, despite the ever-growing number of new instrument designers and designer-performers, disabled people remain so underrepresented in these roles. The answer, Zayas-Garin and McPherson (2022) suggest, is rooted in a reality where disabled people all too rarely have truly meaningful involvement in instrument creation.
After almost 20 years of making new instruments, interfaces and interactive installations for use primarily by other people, the lead author has recently created their first instrument intended for personal use. Thus, this paper first explores the relevance of prior musical experiences and “old” instrument designs to the design of this new instrument from a one-handed perspective. To do so, we draw on four different strands of theory: i) work by Bates (2012) on the social lives of (traditional) musical instruments, ii) the notion that instruments can tell “stories of a sort” (Koutsamichalis, 2022), iii) the idea of narrative prosthesis (Mitchell and Snyder, 2001), and iv) the concept of hermeneutical injustice (Fricker, 2007). We subsequently use the latter concept to further the idea of empowering disabled players more widely to create instruments around themselves. Current barriers to this are discussed and directions for future work are outlined.
References
Bates, E. (2002). The Social Life of Musical Instruments. Ethnomusicology, 56(3), pp. 363–395.
Frid, E. and Ilsar, A. (2021). Reimagining (Accessible) Digital Musical Instruments: A Survey on Electronic Music-Making Tools, in Proceedings of the International Conference on New Interfaces for Musical Expression, Shanghai, China.
Koutsomichalis, M. (2022). Instruments that are more than instruments (and other stories). Ricercare, vol. 15, pp. 76–106.
McMillan, A. (2022). Developing a design framework for constructing an accessible musical instrument from an autoethnographic point of view. NIME 2022.
Mitchell, D. T. and Snyder, S. L. (2001). Narrative Prosthesis: Disability and the Dependencies of Discourse. Ann Arbor, MI, USA: University of Michigan Press.
Zayas-Garin, E. and McPherson, A. (2022) 'Dialogic Design of Accessible Digital Musical Instruments: Investigating Performer Experience', in NIME 2022. doi:10.21428/92fbeb44.2b8ce9a4
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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