1,721,191 research outputs found
Interview with David Dunn on the subject of bark beetle sounds
No full textAnimaliaArthropodaInsectaColeopteraCompressed from .wav format into .mp3 delivery formatComposer and recording engineer David Dunn describes his recordings of bark beetles in New Mexico, and some of the possible causes and consequences of bark beetle infestations devastating pine forests throughout the WestSounds were recorded using a modified transducer inserted into the bark of the tree, and are taken with permission of the author from the compact disc "The Sound of Light in Trees" produced by David Dunn in collaboration with the Acoustic Ecology Institute. Scientists say that bark beetle populations are increasing in large part because of increased drought and milder winters due to global warming
1844, David Dunn
No full textDavid Dunn of Poland, ME, Governor (Acting) 1844.https://digitalmaine.com/arc_govportraits/1024/thumbnail.jp
1844, David Dunn
No full textDavid Dunn of Poland, ME, Governor (Acting) 1844.https://digitalmaine.com/arc_govportraits/1024/thumbnail.jp
January David Dunn Talk
Full text linkRecords of a talk given by David Dunn at Little Creek Academy in 1991
Letter to Susan Csaky regarding David Dunn, March 17, 1975
Full text linkA letter from William Younger to Susan Csaky informing Csaky that David Dunn is no longer a law librarian and therefore should not be involved in future Scholarship Committee activities
David Dunn Bulloch and Alice Bladen Bulloch; Cedar City, Iron County, Utah
No full textDavid Dunn Bulloch and Alice Bladen Bulloch; late 1800's; Cedar City, Iron County, UtahPhotograph
Music, Language and Environment
No full text Interviewed by music journalist René van Peer, the composer and sound recordist David Dunn discusses the sound work he has done in natural environments, his motivations for doing this work, and the thoughts and theories he has developed from it. Most of these works are unique events created for a specific time and location or for specific circumstances. In these events, the sounds generated by the players set up interactions with their immediate surroundings. Soundscape recordings are another aspect of Dunn's work. His work in different natural and cultural environments has enabled him to research areas where music and language intersect. </jats:p
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
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