1,720,955 research outputs found
O streaming de música e suas consequências nas dinâmicas de poder, consumo e criação
No full textStreaming has dominated the consumption of music and audiovisual media over the last five years. 80% of music in Mexico is now consumed through streaming (Gutiérrez, 2019) YouTube, Netflix and Spotify present an unquestionable hegemony in the Western world. This article shows how consumption through the streaming of music tracks, in conjunction with non-possession, opens up a new space in the world of music production and distribution, which in many aspects changes the creation of composers. The article also considers the power dynamics of the recommendation algorithm on various platforms.En los últimos 5 años el streaming ha dominado el consumo de música y medios audiovisuales. Supone el 80% de la música en México (Gutiérrez, 2019). Asimismo YouTube, Netflix y Spotify presentan una hegemonía incuestionable en el mundo occidental. El ángulo que me interesa mostrar aquí es cómo el consumo a través del streaming de tracks musicales inaugura un nuevo espacio en el mundo de la producción y distribución de música, que en muchos aspectos cambia la creación de compositores. También reparamos en la dinámica de poder que se encuentra bajo el algoritmo de recomendación en varias plataformas.Nos últimos 5 anos, o streaming tem dominado o consumo de música e a mídia audiovisual. 80% da música no México é consumida através do streaming (Gutiérrez, 2019). Da mesma forma, YouTube, Netflix e Spotify apresentam uma hegemonia inquestionável no mundo ocidental. A perspectiva que estou interessado em mostrar aqui é como o consumo através do streaming de faixas musicais, mais sua não-posse, inaugura um novo espaço no mundo da produção e distribuição musical, que em muitos aspectos muda a criação dos compositores. Também as dinâmicas de poder encontradas sob a dinâmica da recomendação de algoritmos em várias plataformas.Nos últimos 5 anos, o streaming tem dominado o consumo de música e a mídia audiovisual. 80% da música no México é consumida através do streaming (Gutiérrez, 2019). Da mesma forma, YouTube, Netflix e Spotify apresentam uma hegemonia inquestionável no mundo ocidental. A perspectiva que estou interessado em mostrar aqui é como o consumo através do streaming de faixas musicais, mais sua não-posse, inaugura um novo espaço no mundo da produção e distribuição musical, que em muitos aspectos muda a criação dos compositores. Também as dinâmicas de poder encontradas sob a dinâmica da recomendação de algoritmos em várias plataformas
Music streaming and its consequences within the dynamics of power, consumption and creation
No full textEn los últimos 5 años el streaming ha dominado el consumo de música y medios audiovisuales. Supone el 80% de la música en México (Gutiérrez, 2019). Asimismo YouTube, Netflix y Spotify presentan una hegemonía incuestionable en el mundo occidental. El ángulo que me interesa mostrar aquí es cómo el consumo a través del streaming de tracks musicales inaugura un nuevo espacio en el mundo de la producción y distribución de música, que en muchos aspectos cambia la creación de compositores. También reparamos en la dinámica de poder que se encuentra bajo el algoritmo de recomendación en varias plataformas.Streaming has dominated the consumption of music and audiovisual media over the last five years. 80% of music in Mexico is now consumed through streaming (Gutiérrez, 2019) and YouTube, Netflix and Spotify present an unquestionable hegemony in the Western world. This article shows how consumption through the streaming of music tracks, in conjunction with non-possession, opens up a new space in the world of music production and distribution, which in many aspects changes the creation of composers. The article also considers the power dynamics of the recommendation algorithm on various platforms
El Show casero (House Show) como práctica de gestión musical para solistas en la Ciudad de México
Full text linkFaced with an incompatibility with conventional concert venues, several soloists from Mexico City have begun to organize home concerts in in the last ten years. These practices are known in the US as House Shows, a name that I adopt to try to give a consistency and conceptual dialogue with the studies carried out in that territory. I interviewed four managers who produce this type of shows: Josué Hinojosa, from “Gira in Ksas”, David Aguilar, from “El Depa de los Plebes”, Raúl “El Rolty” Castaños, from “La casa del Rolty”, and Carla Rivarola, from “Guerrilla Shows”. Although diverse, all these experiences coincide in that there is a hostility on the behalf of the conventional venues, and in the need to construct a tolerant community within these new spaces and a model much more in line with the music they make.Frente a una incompatibilidad con los foros convencionales de conciertos, diversos solistas de la Ciudad de México han empezado a organizar conciertos en espacios domiciliares en los últimos diez años. Estas prácticas han sido denominadas en EU como House Shows, nombre en inglés que tomo para dar consistencia al diálogo conceptual con los estudios hechos en ese territorio. Entrevisté a cuatro artistas que llevan esta práctica de gestión: Josué Hinojosa, de “Gira en Ksas”, David Aguilar, de “El Depa de los Plebes”, Raúl “El Rolty” Castaños, de “La Casa del Rolty”, y Carla Rivarola, de los “Shows Guerrilla”. Aunque variopintas, todas las experiencias coinciden en una hostilidad de parte de los foros, la construcción de una comunidad tolerante dentro de estos nuevos espacios y un modelo mucho más acorde con la música que hacen
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
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