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DE 551 Theory 3—Synthesis (2021)
No full textThe final theory course (DE 551—Theory 3, Synthesis) in 2021 was held under the conditions of the lockdown: we had learned a number of useful lessons from 2020, when the same course was run under the same conditions (Covid 19 lockdown).
As during the previous year, the course was organised in small groups of 4 (Quads), to maintain face-to-face teaching and learning processes managed independently by the students themselves, within the bounds of small cohorts.
As in the previous year, all the students had mandatory tutorials with professionals from each their specialisations (Fashion and Costume design, Graphic Design and Illustration, Interior Architecture and Furniture design). With a maximum of 3 tutorials.
The course had 4 milestones: 1) a kickoff with the transdisciplinary QUAD groups in a domestic setting with the course leader; 2) a synthesis of the idea for an essay: 3) a detailed structure for the essay; 4) exams with oral presentations w/the specialisations.
The students had a regular day-structure in which they started with morning meetings in the QUADs (emulating a transdisciplinary design studio). Worked independently during most of the day. Developed a panel to develop a visual concept for their projects.
Tutorials with the course leader was organised with the QUADs, and also represented a continuous course evaluation since we had to take decisions within constraints the evolved in real time, and without secure information of how the exams would be.
The exams were were organised by specialisation and were held in a studio arrangement built in the MediaLab Black box, that we also used the previous year. The final presentation took place 15-17th December. And relied on a hybrid arrangement.
Which means that a limited number of people could be present at each presentation, due to the Covid 19 restrictions, and there was some traffic in/out for each presentation. Those present were:
—the candidate and their QUADs
—the professional staff
—the exam committee (Håkon Caspersen and Theodor Barth)
The rest of the class and the staff were present on Zoom. Which means that all of the students had both a local and remote interface with the exam and its contents. The exam had a fixed structure:
1) the course leader (Theodor Barth) delivered a précis presenting and discussing the contents of the students’ theory essays.
2) the students gave each their oral presentation where their task was to transpose in the terms of their specialisations, where they surfaced after working with the essay.
3) the external examination (Håkon Caspersen) engaged a discussion with the students based on what he had seen and heard.
4) the professional staff/specialised teachers engaged a conversation with Q&A with the students.
5) the course leader summarised the discussion.
6) the panels that the students had developed to conceptualise their process, where lined up at the entry so that the audience could spend some time with these elements, in dialogue with the students, on their way out.
7) the arrangement used for the above programme was that of the learning theatre [two facing rows of chairs, the candidate and committee in a panel with an orthogonal orientation to the audience, and the projection surface at the opposite end of the space]
In a final round, the students were asked to proof their theory essays, and asked for permission to publish the theory essays and the presentations. From what appeared in the final projects, it was clear that the collaboration between theory and the specialised teachers had resulted in professional independence of students that stand in their work.
The QUAD groups were dynamic in a professionalising fashion, the students and course evaluator agreed, in particular the ones who keep to this work-form all the way to delivery and final presentation.
The decision was made to keep the concept (derived from Bruno Latour and Samuel Beckett), as a stable element in the MA courses, also after the lockdown
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
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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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