1,720,966 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
Donne del progetto Casina
No full textLe prime discussioni attorno ad uno “spazio mobile”, detto semplicemente Casina, iniziano a partire dall’estate del 1991 tra Antonella Ortelli, Silvia Truppi e Carla Vendrami. Scelgono la forma di volontariato (secondo l’art. 17 dell’ordinamento penitenziario) per poter continuare il lavoro anche con le donne della sezione femminile nel carcere San Vittore. Fin dall’inizio Luca Quartana ha condiviso e fatta propria l’idea della Casina. Contemporaneamente Aldo Rocco ne ha supportato la progettazione e la realizzazione. Nasce così una “scatola” a pareti mobili ed elastiche che permette la comunicazione tra interno ed esterno, divenendo luogo di collegamento e relazione fra realtà differenti. La struttura in tubolari metallici è progettata dall’architetto Aldo Rocco; il rivestimento in tela da spinnaker viene elaborato e realizzato dalla Veleria Viganò di Trezzano sul Naviglio
Contemporary art and enterprises in the suburbs of Milan. The emergence of artistic geographies?
No full textHow do artistic geographies emerge in certain territories? How does the entanglement of art and enterprise reflect the artistic geography of a territory? These are some of the research questions that this article aims to address by focusing on the urban shape of contemporary art enterprises which determined the rise of certain “art districts” in a metropolis such as Milan. An analysis of the urban space demonstrates that there are cultural institutions which can be identified in a certain number of areas that serve as not as mere examples of static contemporary art attractions, but are in fact active triggers of a new vision of a city that provoke the re-defining its character and shape over the course of a number of years
“Frida Kalho’s pictorial treatment of family and her Germanness in her artworks”, in Frida Kahlo’s Germany, A. Heinz and J.S. Klotz (eds.). Forthcoming with Verlag, Pforzheim, October 2022.
No full textThis chapter seeks to investigate Frida Kahlo’s pictorial treatment of her family, examining connections to German art in order to show her permanent link to her heritage. But why does this chapter focus on Kahlo’s Germanness in her artworks? Because it seems that while all of the existing literature on Frida Kahlo sheds lights on some aspects of her connections with Germany, there does not seem to be an ad hoc study on the pictorial treatment of her family that thoroughly highlights the roots of her German side, nor are there explorations of other elements that demonstrate her Germanness. In its methodology, the present chapter first interrogates the iconography used to represent Kahlo family’s (e.g. My sister Cristina, 1928; My nurse and I, 1937); secondly, it studies all re-elaboration and reception of great German masters admired by the artist. Finally, the chapter looks at the artworks produced in the Nazi era that seem to suggest an attempt to distance herself from Germany (e.g. Roots, 1943). Nevertheless, numerous artworks show that she was constantly referencing Germany in her artwork
Innovating through craft. From happenstance to strategic culture
No full textThis chapter analyzes the conflicting passage from the crafts labeled under the name arte popolare to the innovative artistic products of the Pop Art current (Italy vs USA), which had place in the Sixties, and the subsequent strategic culture adopted by Pop Art enterprise (Museums, Foundations, Archives, e.g., the Andy Warhol’s one)
Does education contribute to the creation of sustainable art cities?
No full textThis paper seeks to investigate the debate about the role of education, particularly developed in the panel “Regulation and protection of heritage and landscape between globalisation and localism” held at the Conference Città d’arte 3.0. Il futuro delle città d’arte in Italia at Palazzo Te, (2016, Mantua). Among the issues discussed, the fundamental role of education, which indeed should be included in the development of both art cultural policies and of protection systems at all levels, from schools to universities, was specifically underlined. The main question that this paper intends to answer is: how does education contribute to the creation of sustainable art cities? My methodology will investigate international and national case studies, which provide evidence on education as a supportive element in policies regarding cultural sustainable development. It will analyse core themes (some of them interconnected) that I will try to address
L’Astrattismo dalla Russia all’Italia. Antecedenti e parallelismi tra arte e ideologia Abstract Art from Russia to Italy. Antecedents and parallels between art and ideology
No full textIn questo saggio critico si indaga il rapporto tra l’Astrattismo Russo e l’Astrattismo Italiano, esaminando la sua affermazione all’interno della complessità dei fenomeni artistici, dal Suprematismo al Cubo-futurismo, che si stavano manifestando in modo particolare tra Mosca, Parigi, Berlino, Monaco, Milano e Roma. Dal momento che alcune donne artiste dell’Avanguardia Russa tra cui Exter, amica di Archypenko e sua collega di università alla Scuola d’Arte di Kyev (KKHU), Roza’nova e Gončarova avevano esposto in Italia già nel 1914; che altre avevano viaggiato in Italia (e.g., Ljubov’ Popova era in Italia nel 1910 in viaggio con la famiglia; nel 1914 era nuovamente in Italia a Roma e in diverse città) e che la loro produzione artistica comprendeva anche un forte legame con il settore tessile. Come anche per alcune artiste italiane, in primis si cerca di capire quali nessi diretti e quali sviluppi paralleli ci siano stati tra l’astrattismo femminile italiano (in particolare quello comasco) e quello russo. All’interno della complessità di questi collegamenti tra aree geografiche di fatto lontane, i futuristi e soprattutto Marinetti, in seguito ai suoi viaggi tra Mosca, Parigi, Roma e Milano, sembrano figure chiave per un’accoglienza “pacifica” dell’astrattismo-geometrico russo in Italia, contrariamente all’astrattismo lirico di Kandinskij che fino al 1940, anno di pubblicazione de Lo Spirituale dell’Arte tradotto da Giovanni A. Colonna di Cesarò, avrà una discussa accettazione. Infine, dato lo stretto legame che alcune donne astratte italiane avevano con gli architetti razionalisti, si esamina il legame con il Bauhaus che a sua volta aveva connessioni con lo Vkhutemas moscovita, a sua volta associato all’ideologia della propaganda rivoluzionaria russa in cui la democratizzazione dell’arte futurista trovava un “campo fertile” . Proprio la considerazione delle ideologie che permeavano il contesto storico in cui vivevano le artiste indagate nel presente saggio costituisce un ultimo punto fondamentale per chiarire la modalità ricettiva dell’astrattismo russo in Italia
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