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Ancient Egyptian Hybrid Deities in Visual Form as Mediator in Cultural Transmission
No full textThe most fundamental understating of hybridization methodology takes the form of stable but dynamic notions, accumulated over time in the memory of individuals. Schematized and abstracted, the hybrids representation needs to be reproduced and reused in order to reconstruct and bring back other memories. Reinvented, or reused hybrids can support getting access to social, traditional, religious understanding of nations. In this manner, they take the form of the messenger / the mediator an innate, equivalent to the use of mental places in the art of memory. We remember mythology in order to remember other things.
From individual memory perspective, or group collective memory, the act of recollection is assumed to be an individual act, biologically based in the brain, but by definition conditioned by social collectives. Following Halbwachs, this thesis does not recognize a dichotomy between individual and collective memory as two different types of remembering. Conversely, the collective is thought of as inherent to individual thought, questioning perspectives that regard individual recollection as isolated from social settings. The individual places himself in relation to the group and makes use of the collective frameworks of thought when he localizes and reconstructs the past, whether in private or in social settings. The frameworks of social relations, of time, and of space are constructs originating in social interaction and distributed in the memory of the group members. The individual has his own perspective on the collective frameworks of the group, and the group’s collective frameworks can be regarded as a common denominator of the individual outlooks on the framework.
In acts of remembering, the individual may actualize the depicted symbols in memory, but he could also employ precepts from the environment. The latter have been referred to as material or external frameworks of memory, suggesting their similar role as catalysts for processes of remembrance such as that of the hybrids in my paintings. It is only with reference to the hybrids, who work as messengers / mediators with a dual nature, that communicate between the past and the present, the internal and external space, that individual memory and group memory is in focus.
The exhibition at the Egyptian museum in Leipzig is my practical method to create a communicative memory, using hybrids as mediators in cultural transimission, as when the act refers to informal and everyday situations in which group members informally search for the past, it takes place in the communicative
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memory. As explained in chapter one, the exhibition at the Egyptian museum in Leipzig is an act of remembering in search for the past with support of my paintings, which then can considered as part of the cultural memory.
In addition to the theoretical framework summarized above, I have applied my hypothesis practically in the form of the public exhibition, and shared the methodology with public audience from Cairo / Egypt and Leipzig / German in the form of visual art workshops and open discussions. I have also suggested an analyzed description of the meaning of hybrids in my artwork as mediators and messengers for the purpose of cultural transmission, as well as in relation to other artists’ work and use of a similar concept.
By using my hybrid creatures in my visual artwork, I am creating a bridge, mediators to represent both the past and the present, what we remember of the past, and how we understand the past. It is as explained in chapter two; that the hybridization methodology in terms of double membership represented in different cultures –Cairo / Egypt and Leipzig / Germany- can provide a framework which allows artistic discussions and could be individually interpreted, so individual cultures / individual memory can become transparent without losing their identities and turn into communicative memory. This transmission through the hybridization theoretical approech was explicitly clarified with the support of Krämer’s hypothesis. The practical attempt was examined by creating a relationship between the witness –me as an artist– and the audience –the exhibition visitors–, to cross space and time, not to bridge differences, rather to represent the contrasts transparently.
The Kin-making proposition is adopted by many academics and scholars in modern society and theoretical research; the topic was represented in the roots of the ancient Egyptian mindset and supported theoretically by similar understandings such as Haraway’s definition of kin-making. The practical implementation of kin- making can be observed in many of my artwork and was analyzed visually and artistically in chapter three.
My practical project outcome tested success by using hybrids in my paintings as mediators, it opened a communicative artistic discussion. This methodology gave a possible path of communication through paintings / visual analyses, and offered relativity through image self-interpretation
Ancient Egyptian Hybrid Deities in Visual Form as Mediator in Cultural Transmission
No full textThe most fundamental understating of hybridization methodology takes the form of stable but dynamic notions, accumulated over time in the memory of individuals. Schematized and abstracted, the hybrids representation needs to be reproduced and reused in order to reconstruct and bring back other memories. Reinvented, or reused hybrids can support getting access to social, traditional, religious understanding of nations. In this manner, they take the form of the messenger / the mediator an innate, equivalent to the use of mental places in the art of memory. We remember mythology in order to remember other things. From individual memory perspective, or group collective memory, the act of recollection is assumed to be an individual act, biologically based in the brain, but by definition conditioned by social collectives. Following Halbwachs, this thesis does not recognize a dichotomy between individual and collective memory as two different types of remembering. Conversely, the collective is thought of as inherent to individual thought, questioning perspectives that regard individual recollection as isolated from social settings. The individual places himself in relation to the group and makes use of the collective frameworks of thought when he localizes and reconstructs the past, whether in private or in social settings. The frameworks of social relations, of time, and of space are constructs originating in social interaction and distributed in the memory of the group members. The individual has his own perspective on the collective frameworks of the group, and the group’s collective frameworks can be regarded as a common denominator of the individual outlooks on the framework. In acts of remembering, the individual may actualize the depicted symbols in memory, but he could also employ precepts from the environment. The latter have been referred to as material or external frameworks of memory, suggesting their similar role as catalysts for processes of remembrance such as that of the hybrids in my paintings. It is only with reference to the hybrids, who work as messengers / mediators with a dual nature, that communicate between the past and the present, the internal and external space, that individual memory and group memory is in focus. The exhibition at the Egyptian museum in Leipzig is my practical method to create a communicative memory, using hybrids as mediators in cultural transimission, as when the act refers to informal and everyday situations in which group members informally search for the past, it takes place in the communicative 162 memory. As explained in chapter one, the exhibition at the Egyptian museum in Leipzig is an act of remembering in search for the past with support of my paintings, which then can considered as part of the cultural memory. In addition to the theoretical framework summarized above, I have applied my hypothesis practically in the form of the public exhibition, and shared the methodology with public audience from Cairo / Egypt and Leipzig / German in the form of visual art workshops and open discussions. I have also suggested an analyzed description of the meaning of hybrids in my artwork as mediators and messengers for the purpose of cultural transmission, as well as in relation to other artists’ work and use of a similar concept. By using my hybrid creatures in my visual artwork, I am creating a bridge, mediators to represent both the past and the present, what we remember of the past, and how we understand the past. It is as explained in chapter two; that the hybridization methodology in terms of double membership represented in different cultures –Cairo / Egypt and Leipzig / Germany- can provide a framework which allows artistic discussions and could be individually interpreted, so individual cultures / individual memory can become transparent without losing their identities and turn into communicative memory. This transmission through the hybridization theoretical approech was explicitly clarified with the support of Krämer’s hypothesis. The practical attempt was examined by creating a relationship between the witness –me as an artist– and the audience –the exhibition visitors–, to cross space and time, not to bridge differences, rather to represent the contrasts transparently. The Kin-making proposition is adopted by many academics and scholars in modern society and theoretical research; the topic was represented in the roots of the ancient Egyptian mindset and supported theoretically by similar understandings such as Haraway’s definition of kin-making. The practical implementation of kin- making can be observed in many of my artwork and was analyzed visually and artistically in chapter three. My practical project outcome tested success by using hybrids in my paintings as mediators, it opened a communicative artistic discussion. This methodology gave a possible path of communication through paintings / visual analyses, and offered relativity through image self-interpretation
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
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
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