1,720,965 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
Bell Jar Orchestra
No full textThe Bell Jar Orchestra focuses on aesthetising the materiality of sound. It brings a heightened visibility to the physicality of sound and explores the construction of meaning in relation to the medium through which sound travels. The instruments draw reference to the historicity of science and in particular the beginnings of modern science in the 17th century. The 17th century gave rise to the empirical laboratory, a place for the observation and measurement of physical phenomena. This period questioned the value of speculative rationalism and proposed a methodology for empirical enquiry through demonstrable and repeatable laboratorial experiments. It gave rise to a set fundamental laws which established the cornerstones of modern science. One such law, Boyle’s Law, by Irishman Robert Boyle, describes the inverse relationship between air pressure and volume. The apparatus of Robert Boyle’s laboratory was typical of a 17th century natural philosopher; air pumps, bell jars, test tubes, thermometers and barometers, devices to carry out experiments with air pressure, heat, vacuums etc. One aspect of the research project is to allow for a deepened investigation and appropriation of the methodologies of 17th century science and to employ the apparatus, techniques and scientific laws of the 17th century to manipulate and structure sonic material into musical form. This research works toward the construction of a series of compositions for a bell jar orchestra. Inside each bell jar will be an automated mechanical hammer striking a tuned bell. The volume of sound emitting from each bell jar is contingent upon the air pressure inside the bell jar. The air pressure inside the bell jar is controlled by air pumps. When the bell jar is a vacuum no sound is heard, when the bell jar is filled with air, the sound will be at its loudest. By dynamically controlling the flow of air through the bell jars, the loudness and softness of the sound can be controlled, producing a rich, dynamically changing interlacing of sonic material across all 8 bell jars. The ebb and flow of musical loudness and softness is a function of air pressure inside the bell jars. The research recontextualises the intellectual heritage of the 17th century scientific enlightenment and aestheticises the scientific methodologies, apparatus and laws which stem from the 17th century
Untitled in COF minor
No full textUntitled in CoF Minor Remix – contributory composition by Conall Gleeson for MORPHICA, a triple album curated by Mikhail Karikis featuring collaborations with over 30 international musicians, visual artists, poets and cultural theorists. A box set that explores the theme of transformation, having as its starting point the morphing of Mikhail Karikis's album Orphica(2007). The album includes collaboations with over 20 musicians ranging from DJs to acclaimed early- music choirs, 15 limited-edition artworks by established and emerging visual artists, and poems and texts of 'remixed' lyrics from the Orphica album. Featured artists include Farina Alam, Oreet Ashery, Sonia Boyce(MBE), Uriel Orlow, Kersten Glandien, Cherry Symth Published by Sub Rose Records (March 2009
Love Songs for Broken Machines
No full textLove Songs for Broken Machines presented a series of new works for voice, live instruments and electronics at Kings Place, London in October of 2010. The performance was co-curated by Conall Gleeson, of ensemble Scratch the Surface and the experimental vocal trio, Juice. The performances explored the role of old and new technologies in the formation and expression of our private lives and in particular, the internet, as a forum where online communities are sought, social networks blossom, where future marital partners are sought and found and where sexual desires are fulfilled[1]. The evening sought to understand the complexity of interactions between new technology users, to understand such behaviour in relation to old technologies, and to enquire how interpersonal relationships exist within what may seem to be an impersonal global network of computers. The performance explored, through music, text, live performance and visuals, the concept of technology-mediated-relationships as first introduced by Merkle and Richardson in their paper Digital Dating and Virtual Relating[2]. In particular, the performance addressed issues of relationship formation and dissolution, notions of online infidelity, sexual and emotional, and the notion of self-disclosure. Composers were commissioned on the basis of their significant contribution to new music and their exploration of old and new technologies. Amongst those selected for commission were Gavin Bryars, Anna Meredith, Claudia Molitor, Micachu, E.laine, Errollyn Wallen and Jim Moray. Audiovisual performances were presented by Leon Mitchener, Sarah Nicolls, Aura Staz and the art collective Flat-e. The project was partially funded through the Arts Council and PRS Foundation. [1] Wysocki, D. K. (1998) Let your fingers do the talking: Sex on an adult chat- line. Sexualities, 1, 425-452. [2] Digital Dating and Virtual Relating: Conceptualizing Computer Mediated Romantic Relationships Erich R. Merkle and Rhonda A. Richardson Family Relations , Vol. 49, No. 2 (Apr., 2000), pp. 187-19
New Note Orchestra
Full text linkConall Gleeson, a composer and research musician, devised and led workshops through which collaborative musical works were developed by New Note Orchestra (NNO), a music-creation initiative for people with challenges related to recovery from drug and substance abuse. The primary pieces are ‘Solace’, first performed in 2017, and ‘A Sense of Place’, first performed in 2018. Working with NNO, the research investigated the therapeutic benefits of collaborative composition in order to establish a set of practices and frameworks that can be modelled. The enquiry examined recovery as experienced by members of the orchestra through directing them to create and perform musical works. The workshops were inclusive and focused on developing listening skills, rather than instrumental performance skills, to encourage the orchestra members to compose their own scores. Gleeson conducted interviews and made films with participants in order to qualitatively assess the benefits of participation in the community orchestra during recovery from addiction. The study provided insights into the distinctive roles of performance and composition in the recovery process: collaborative composition was shown to provide an opportunity to explore identities, build confidence and restore a sense of control and achievement in sufferers’ lives; and the research demonstrated the importance of performance in front of live audiences, validating work and commitment by participants and offering a means to communicate directly with their communities and health professionals, helping change perceptions about the realities of living with drug addiction. The performances also served to provide audiences with a model of recovery that was celebratory and empowering to its participants. In addition to the performed works, findings of the research have been published in a co-authored journal article (2019)
Sound and the urban environment
Full text linkThis exhibition and symposium explored our auditory encounter with the urban environment and asked how we might plan for the soundscape of our futures cities, homes and dwellings. It asked in what way can the soundscape and the practice of listening inform and make meaningful the experience of living within urban environments. Do we need to revisit our relationship to the sound of cities, if so what changes should be made? What is the role of the artist and other professionals in considering alternative approaches to listening as well as helping to celebrate, re-imagine and regenerate the spaces, buildings and institutions of the urban soundscape. The sound works presented in the exhibition brought together a diverse range of artists whose practices address ways in which we encounter, explore and navigate the sounds of our urban environments. Danny Bright’s Ghosting Ruins explores the multiple sonic temporalities and auditory heritage of industrial ruins. Paul Garcia Stone’s Nunhead: From Dawn to Dusk charts the intersections of industrialization with the sounds of the natural world, where freight train whistles, fox calls and bird song coalesce. Ingrid Plum’s The Lightship is a response to the architecture of a decommissioned lightship in Kent. The up flow of air by Conall Gleeson and Jonathan Milo Taylor is a composition made from recordings of the flow of air through the scaffold structure of St Peter’s Church that is directly opposite the Onca Gallery. The artists featured in this exhibition are Danny Bright Ghosting Ruin (UK) Christopher De Laurenti Mardi Gras (USA) Leona Jones On Edge (UK) Joseph Young 6 Families of Noise (UK) Paula Garcia Stone Nunhead: From Dusk to Dawn Melissa Deerson Dawn Chorus (Australia) bunú(Aidan Deery & Matilde Meireles) Correspondence; Transition 2 (Northern Ireland) Sindhu Thirumala Composition for Temple Speakers (India) Laura Cooper A Hunt (UK) Mari Ohno Floating Sounds and Speaking Clock (Japan) Kevin Logan De Zwaan (UK) Eduardo Abrantes Two in Transition (Portugal) Ingrid Plum Lightship (UK) Johannah Hallsten The Onlookers Doubt (Sweden) Linda O’Keefe Sarah’s Song, May’s Song (Ireland) Conall Gleeson/Jonathan Milo Taylor the up flow of air (Ireland /UK
Invisible targets
No full text‘Invisible Targets’ was devised to build upon Peter Seddon’s installation and curatorial intervention of ‘Tête-à-Tête’ at the Musée des Beaux-Arts, Nimes. The major focus was on the English Civil War. ‘Invisible Targets’ by Conall Gleeson responded to the notions of civil conflict, democracy and monarchy that were raised throughout the exhibition. His composition, written for loudspeaker and two snare drums, featured a rhythmic fragment of the command to ‘retreat‘, which would have been played on a snare drum on the seventeenth-century battlefield. The sounds of nineteenth and twentieth-century modes of military communication such as Morse code and radio were introduced, but filtered through the rattle of snare drums placed directly in front of the loudspeakers. Towards the end of the work the muffled voice of Prince Harry is heard talking about his experiences in Afghanistan and, in so doing, drawing a direct line between the political climate of today and that of Prince Harry’s distant ancestor Charles I. Four research staff from the Performance and Visual Art programme collaborated with Gleeson’s Scratch the Surface ensemble to create new works which were performed in the Musée des Beaux-Arts on 21 June 2008, the national day of music celebration in France. Each of these works was experienced in context with the ‘Tête-à-Tête’ exhibition and its central work, the famous painting of Oliver Cromwell looking upon the corpse of Charles I by Paul Delaroche. These war-related pieces, performed at the event in collaboration with Gleeson and the Scratch the Surface ensemble, comprised ‘The Siege of Rhodes’ by Amy Cunningham, ‘Cromwell’s Sorrow’ by Jean Martin and a performance by Mikhail Karikis, titled ‘Between Two Mouths: A Guided Tour’, which challenged the representation of war and the narrative formalisation of history
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
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