1,720,966 research outputs found
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
Newly Forgotten Technologies
No full textIn this installation, two hundred discarded and abandoned smartphones, iPads, and smart speakers are laying in a darkened e-waste dump sometime in the near-future, while their onboard voice assistants (Siri, Alexa, Google Assistant, etc) tell stories about how and why they were thrown away. Across the dozens of stories, many different possible futures are described where speculative technological, social, and ecological events change our relationship to AI and ‘smart’ technologies to the point where devices like these have been discarded. Some of these are futures we might want, and some we should try to avoid. None of these stories describe computers becoming sentient, but all of them talk about the different ways that humans react and respond over time to a changing world
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe 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
The Listener
No full text'The Listener' takes the form of a transparent case, laser-etched with text on all sides, with its exposed components and processes displayed. Inside, the screen shows the results of the live probe request scan being performed at that moment, allowing the form and structure of this data to be read by the owners of the devices which are generating it. The text inscribed onto the case details information such as the hardware and software used in The Listener itself, a translation of the code being run, a break down of the probe request process, and the nature of the Institute of Electrical and Electronics Engineers (IEEE), the standards body that determines function of the probe request.
'The Listener' is surrounded by four speakers, and sonifies detected MAC addresses by mapping each element of the MAC address to a specific vocal sample. This produces vocal ‘chants’ unique to each wireless device, that call out into the room whenever a probe request is detected. The signal strength of the device to The Listener determines the volume of the chant, so that it increases as the device approaches it; and from inside The Listener itself, the names of any broadcast SSIDs are then ‘whispered’ through a text-to-speech algorithm and internal speaker.
By employing these multiuple forms of reading the probe request process, The Listener pulls its layers and context apart for examination, experimenting with how we can read and understand the nested technological processes that we rely upon, and how we can critique their implications for privacy and control
Atmospheric Disturbances
No full textAir pollution data is neither ‘fact’ nor all-seeing; no data is. The pollution sensor is positioned at a certain place, and not another; and the reading is taken at a certain time, and not another. At the same time, air pollution itself changes with the rhythm of a city, with weather patterns, and the movements of humans. Data on this topic should therefore be understood as being part of a wider investigation into air pollution, rather than the sole proof of it.
To reflect the situated and partial nature of this data, this installation produced shifting patterns of light in mist, that alter their forms based on the readings in the data. These ‘structures’ in the light expanded and contracted as the pollution measured in the data increased and decreased. The patterns shifted based on the viewers position, coming in and out of focus, preventing any single totalising view of the data, yet producing constantly changing and evolving situated views.
The same data is sonified in time with the projetions, using voices from Verdi’s 1848 opera La Battaglia de Legnano, based in and first performed in Milan. The voices rise and fall in volume as the pollution measured in the data increases and decreases. La Battaglia de Legnano was an explicity political revolutionary opera, and I use it here to remind us of the explicitly political act of examining air pollution in the age of anthropocentric climate change.
This work was produced as part of a collaboration with Superflux for ‘Design In The Age of Experience’, Superstudio Piu, for Milan Design Week 2018
Visualization and Interpretation by Johanna Drucker (Book Review)
Get PDFA review of the Johanna Drucker book, for MIT Press' Design Issues journal
The Dark Age of Connectionism
No full texthe Dark Age of Connectionism explores the hidden capacities of always-listening devices such as the Amazon Echo, and the capacities we have to unravel the massive systems which these devices rely upon.
The near-field microphone array built into the Amazon Echo captures not only what is being said to it, but also the approximate position of the speaker in the room, and what music is playing nearby. With the right data analytics, this system could also discern whether there are footsteps in the room, what type of devices are being listened to nearby, or even whether voices are being raised in anger. We know these sounds are being heard by these devices – but due to the secretive nature of Amazon’s operation, we cannot know whether these or any other discrete analytics are being performed on the sonic data being constantly poured into these always-listening machines.
The Dark Age of Connectionism inverts the hidden nature of this always-listening, and offers multiple ways to critique how devices like this function. The microphones surrounding the Echo are capturing nearby sonic data – surrounding voices, noises from phones, and other sounds. Each sound generates a question spoken to the Echo through a version of Apple’s Siri voice assistant – itself a product of US military research. Each question attempts to create a deeper understanding of the politics and function of the Echo, or echoes the anxieties of living amongst these devices. This builds an ongoing discourse of investigation into this complex yet deceptively discrete machine. To hear these questions and their answers, audience members must devise ways of being present around the device which do not create more sonic data for it, exploring how such objects in our homes may influence our behaviour if we wish to avoid their listening
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