1,720,964 research outputs found
Home ground.
No full textCatalogue of exhibition held at the Ivan Dougherty Gallery, 21 April - 3 June 2006.
Curator: Felicity Fenner.Art of: Jenny Bell (Australia), Juan Manual Echavarria (Colombia), Yukultji Napangati (Australia), Ahlam Shibli (Palestine)Includes bibliographical references
Amnesia Lab - symposium
No full textThe Amnesia Lab, was an experimental symposium in an exhibition setting, co-designed by Shona Illingworth and Jill Bennett (UNSW). It took place at the UNSW Galleries and NIEA iCinema Lab 23 – 25 September 2014 as part of the Signs of Life; Brain and Amnesia Week and brought together memory experts, artists and writers to explore how photographic images, sound and immersive media can advance our understanding of memory and forgetting. The Lab is part of an ongoing research collaboration led by artist Shona Illingworth with cognitive neuropsychologist Martin A. Conway (City University, London) and neuropsychologist Catherine Loveday (Westminster) in the UK, and by Jill Bennett (UNSW) in Australia. Ilingworth, Conway, Loveday, Bennett and colleagues staged a series of discussions in specially designed environments, utilising techniques such as EEG sonification, drawing, and immersive interaction. The Lab presented research-in-progress for Lesions in the Landscape: Claire and the Island of Hirta, a project led by Shona Illingworth and funded by the Wellcome Trust, UK, and focused in particular on the use of imagery from Sense Cam (a wearable sensory operated camera) as memory cue in the context of amnesia. Sessions included a focus on the workings of episodic memory and memory cues, and their relationship to photographic imagery; the issues of perspective and viewpoint in memory, and visual-kinaesthetic perception. Presentations were given by the research team and by cognitive scientist and philosopher John Sutton (Macquarie), psychologists Amanda Barnier and Celia Harris (Macquarie University) and Elise van den Hoven (UTS). Public lectures included Digital Amnesia: Design for Forgetting, Corina Sas (Lancaster) and iMemory: Why the past is all over, Andrew Hoskins (Glasgow)
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
Your Place or Mine? Curatorial approaches to place through the prism of home
Full text linkThe outward image of the place we call home – Australia – historically dominates and subsumes personal experiences of home in exhibitions of Australian art. The thesis argues, and demonstrates through a series of curatorial projects, that exhibitions can, alternatively, embody intimate experiences of place that more accurately describe the experience of 21st century Australia. Citing recent Australian socio-political and literary culture as a backdrop, it is shown that the prism of home is an effective curatorial device through which to transmit and receive new insights into aspects of this place we call home, Australia.
The conceit of ‘home’ is adopted in the thesis both as a curatorial theme and as a framework for engagement. The research reveals how reference to home can guide viewers from simply ‘understanding’ meaning to ‘inhabiting’ (being at home within) the intellectual and sensory space of artworks and exhibitions. When the idea of home is embedded in the curatorial approach, artists’ knowledge and experience – particularly those at odds with mainstream perceptions of Australian culture – can be articulated. Thus, the exhibition becomes a catalyst for new ways of seeing and thinking about place.
Contextualising the author’s curatorial projects with others in the region seeking to define a post-global sense of identity, the thesis reveals how the curator can employ the framework of home to facilitate new insights into place. To achieve this, three key curatorial strategies are applied to exhibitions of Australian art: the inclusion of works that are based on real life, intersect with or are real life occurrences; the creation of installations in the gallery space that are physically immersive or inhabitable; and the co-production with artists of participatory works in public and non-institutional spaces.
Through a series of curated projects, the prism of home gives voice to internal (bottom-up) understandings of place, providing an alternative to external (top-down) perceptions typically associated with the visual lexicons of national and cultural identity
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