1,720,984 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
Approximate solutions of Happynet on cubic graphs
No full textThe HAPPYNET problem is defined as follows : Given an undirected simple graph G with integer weights wvu on its edges vu ∈ E(G), find a function s : V(G) → {-1, 1} such that ∀v ∈ V (G), v is happy in G, i.e. such that ∑u∈Γs(v)s(u) wvu ≥ 0. It is easy to see [3] that HAPPYNET has always a solution, no matter what the input is. However, no polynomial algorithm is known for this problem, which is complete for the class PLS (see [4] for a definition). Parberry et al. have shown in [7] that in the case of cubic graphs (i.e. of maximum degree 3) is as difficult as for arbitrary graphs. A ρ-approximate solution to a HAPPYNET instance of size n can be defined for 0 ≤ ρ ≤ 1 as a natural extension of the solution function, with at least ρn happy vertices. In this paper, we present a polynomial-time algorithm that finds a ρ-approximate solution for the HAPPYNET problem on cubic graphs, with ρ ≥ ¾.ou
A Note on Using T-joins to Approximate Solutions for min Graphic k-Path TSP
No full textWe consider a generalized Path Traveling Salesman Problem where the distances are defined by a 2-edge-connected graph metric and a constant number of salesmen have to cover all the destinations by traveling along paths of minimum total length. We show that for this problem there is a polynomial algorithm with asymptotic approximation ratio of 3/2
A Note on Using T-joins to Approximate Solutions for min Graphic k-Path TSP
No full textWe consider a generalized Path Traveling Salesman Problem where the distances are defined by a 2-edge-connected graph metric and a constant number of salesmen have to cover all the destinations by traveling along paths of minimum total length. We show that for this problem there is a polynomial algorithm with asymptotic approximation ratio of 3/2.no
Un tour d'horizon sur quelques classes de jeux combinatoires
No full textDans cet article, nous nous focalisons sur les aspects algorithmiques de la théorie des jeux noncoop ératifs. Pour la présentation des notions de base ainsi que pour la notation, nous suivons en général l'exposé de [40]. Ne sont pas traités ici les problèmes inverses , c'est-à-dire la conception de mécanismes et la théorie des enchères : cette catégorie constitue un sujet très vaste en soi avec une problématique algorithmique qui lui est propre, dépassant la portée de l'article
Quand l'optimisation fait du beau jeu : une vision algorithmique de la théorie des jeux
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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
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