1,720,962 research outputs found
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
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
Compte rendu de Gérard Simon : «Kepler, rénovateur de l’optique»
No full textSimon (Gérard), Kepler, rénovateur de l’optique / édition par Delphine Bellis et Nicolas Roudet ; préface d’Édouard Mehl. – Paris : Classiques Garnier, 2019. – 208 p. – (Histoire et philosophie des sciences, 19). – 1 vol. broché de 15 × 22 cm. – 27,00 €. – isbn 978-2-406-08013-8
Mathématiques de l'intensité et Merveilles de la nature : études sur le Tractatus de configurationibus qualitatum et motuum de Nicole Oresme
No full textDuring the first half of the fourteenth century, scholastic philosophy will give rise to a new mathematical science, that of the so-called latitudes of forms, the variations of forms between the degrees of their intensity. A complex logico-mathematic device is romptly elaborated to overcome problems about variations and rates, mean values and limits. The imaginary, even fanciful nature of the problems thoroughly studied thanks to those new methods can create the illusion that those scholastic authors, indifferent to reality, would have dropped it out for the subtilities of abstract logic. It is however a whole different face that the acme of this movement shows, Nicole Oresme’s Treatise on the configurations of qualities and movements, composed around 1350 in Paris. Geometrical intuition suddenly illuminates logical aridity, imagination roams avidly from one marvel to another : the new mathematical science sees magic in nature.The thesis I am defending is that the new mathematical object discovered by Oresme, intensity expanding itself through space and time, a « configuration », is not just a convenient technical tool : it expresses in a pure form a new and common way to consider art, nature and over-nature. Its knowledge doesn’t merely add itself to its scientific foundations, mathematics of number and magnitude, physics of contact and power, but transforms them from within in the same way that polyphonic music supersedes plainchant. An analogy imposed by the text : the new science explains the burgeoning new art, it accomplishes itself in a new vision of the harmony of the world, in which forms and difformities are mixed and mutually moderated.This thesis should be understood as an attempt to explain a mathematical revolution as the expression of a groping mentalité working in other fields of human culture. But because Oresme himself weaves those threads all along the treatise, it was of importance to do the contrary of what had usually been done, that is the segmentation of the text, and to read it in its whole unity in order to grasp the meaning of this science, so modern and so strange.Durant la première moitié du quatorzième siècle, la philosophie scolastique va engendrer une science mathématique nouvelle, celle de la latitude des formes, de la variation des formes entre les degrés de leur intensité. Un appareil logico-mathématique complexe est rapidement élaboré pour surmonter des problèmes de variations et taux de variations, de moyennes et de limites. La nature imaginaire sinon fantasque des problèmes approfondis à l’aide de ces méthodes nouvelles peut créer l’illusion qu’il y aurait chez ces auteurs scolastiques une indifférence au réel, abandonné à la faveur des subtilités d’une logique abstraite. C’est pourtant un tout autre visage que montre l’apogée de ce mouvement, le Traité des configurations des qualités et des mouvements de Nicole Oresme, composé autour de 1350 à Paris. L’intuition géométrique éclaire soudain l’aridité logique, l’imaginaire parcourt avidement le monde de merveilles en merveilles : la nouvelle mathématique voit la magie dans la nature. La thèse que je défends est que l’objet mathématique nouveau révélé par Oresme, une intensité qui s’étend dans l’espace et le temps, une « configuration », n’est pas un simple outil technique commode : il exprime sous une forme pure une manière nouvelle et partagée d’envisager l’art, la nature et la surnature. Sa science ne s’ajoute pas à celles sur lesquelles elle se fonde, mathématique du nombre et de la grandeur, physique du contact et de la puissance, mais les transforment de l’intérieur, comme la polyphonie dépasse le plain chant. Analogie dictée par le texte : la nouvelle science explique le nouvel art naissant, elle s’accomplit dans une nouvelle vision harmonique du monde où formes et difformités se mélangent et se tempèrent mutuellement. Cette thèse doit donc être comprise comme un essai pour expliquer une révolution mathématique comme l’expression d’une mentalité qui tâtonne dans les autres champs de la culture humaine. Mais parce qu’Oresme tisse lui-même ces liens au fil du traité, il était important de faire le contraire de ce qui avait été généralement fait, la segmentation du texte, et de lire le traité dans toute son unité, pour saisir la signification de cette science si moderne et si étrange
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
Nicole Oresme on motion and the atomization of the continuum
No full textAs Aristotle classically defined it, continuity is the property of being infinitely divisible into ever-divisible parts. How has this conception been affected by the process of mathematization of motion during the 14th century? This paper focuses on Nicole Oresme, who extensively commented on Aristotle’s Physics, but also made decisive contributions to the mathematics of motion. Oresme’s attitude about continuity seems ambivalent: on the one hand, he never really departs from Aristotle’s conception, but on the other hand, he uses it in a completely new way in his mathematics, particularlyin his Questions on Euclidean geometry, a tantamount way to an atomization of motion. If the fluxus theory of natural motion involves that continuity is an essential property of real motion, defined as a res successiva, the ontological and mathematical structure of this continuity implies that continuum is in some way “composed” of an infinite number of indivisibles. In fact, Oresme’s analysis opened the path to a completely new kind of mathematical continuity.De acuerdo con la definición clásica de Aristóteles, la continuidad es la pertenencia de ser infinitamente divisible dentro de las partes siempre divisibles. ¿Cómo ha afectado este concepto al proceso de matematización del movimiento durante el siglo XIV? Este artículo se centra en Nicole Oresme, quién ha extensamente comentado la Física de Aristóteles y, al mismo tiempo, llevó a cabo contribuciones decisivas relativas a las matemáticas del movimiento. La actitud de Oresme con respecto a la continuidad parece indecisa: por un lado, él nunca se aleja de la concepción de Aristóteles; por otro lado, la utiliza de una manera completamente nueva en su matemática particularmente en sus Cuestiones sobre la Geometría de Euclides, una manera que es equivalente a una atomización del movimiento. Si teoría del fluxus del movimiento natural implica que la continuidad es una propiedad esencial del movimiento real, definida como una res succesiva, la estructura ontológica y matemática de esta continuidad insinúa que esta continuidad está de alguna manera “compuesta” de un número infinito de indivisibles. De hecho, el análisis de Oresme abrió el paso a una nueva forma total de continuidad matemática
- …
