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Esperienze condivise. La percezione come punto di partenza per la progettazione degli eventi post COVID
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The Fifth Landscape: Art in the Contemporary Landscape
No full textAt the Shaping the City conference organised by the European Cultural Center at the 2018 Venice Biennale, the concept of the Fifth Landscape (or Landscape 5.0) was exhibited for the first time. Thanks to creativity, the goal is to experiment with spaces for the sake of social and cultural imagination, in which it is no longer just a question of architecture but of dreams and social imagination. “Ideal” spaces are related to their impact on the architecture, art and human hopes. In the Fifth Landscape, the contemporary prefers the moment of the artistic gesture that will be remembered but that is not relived in everyday life. Temporary installations in urban centers and open spaces become an occasion for new uses of the different environments, such as living them in a completely new way with novel prospects for the future. If the First Landscape is the managed forest, then the Second is the cultivated field. The Third is the abandonment of places at the hands of man, according to Gilles Clément, and the Fourth is where art is used to counter urban degradation and solitude. The Fifth Landscape is generated by temporary works that, catalysing territorial force, stimulate people to live in the environment in a new way, making it dreamlike. The strong emotional impact on the collective memory transmits, in addition to the true meaning of the work, a sense of uniqueness of the moment that one is experiencing. New visions of landscapes are provided to the community, in which art, architecture, design and nature are confronted using environmental sustainability and the landscape itself as themes. What influences will cultural dematerialisation have on the landscape? How will the sense of beauty in the future society be transmitted and realised? If it is, through which artistic and ephemeral gestures will it appear? Helped by virtuous and suggestive artworks among which Vesuvius by Diego Repetto, Illusion by Alberto Timossi and ARTgo by Diego Repetto, we try to answer the proposed questions, thus understanding more about the potential future perception of the landscape in a continuous search for beauty
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
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