1,722,265 research outputs found

    Marcia J. Bates: Past -- >Present -- >Future

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    This panel session explores, critiques, and celebrates the work of canonical information scientist, Marcia J. Bates. To begin, Dr. Jenna Hartel will survey her oeuvre. Then, three of Hartel’s graduate students will report on their semester-long explorations of a singular conceptby Bates. Each student’s talk will feature a summary and critical examination of the seminal idea in its original historical context. Then, the same concept will be considered in the light of this Information Age. Following each talk, Marcia J. Bates will share her reflections. Ample time will be provided for discussion among Dr. Bates, the panelists, and attendees

    Frederick J. Bates (standing) at a dinner held in his honor in Washington, D.C. on February 4, 1947.

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    Frederick J. Bates (standing) at a dinner held in his honor in Washington, D.C. on February 4, 1947. Bates (1877-1958) was selected in 1901 to head the Polarimetry section of the newly founded National Bureau of Standards (NBS), where he made important advances in the field of sugar metrology. He became chief of the NBS Optics Division in 1941. Image Source: Frederick J. Bates biographical file, NIST Archives

    [Map of Niagara River and Grand River] - part 2. 1815

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    Scale [ca. 1:180,000] Oriented with north to the bottom. Watermark: 'J Bates 1812' Relief shown by hacures.'Map of Grand River &c. Map of River Niagara &c. &c.' - title used in 'Mapping Upper Canada 1780-1867' / Joan Winearls. Digital reproduction of map (33 x 80 cm.) in the Brock University Map, Data & GIS Library collection. Georeferenced and modified from Brock call # G 3462 N53 1815 M37 by Map, Data and GIS Library, Brock University

    [Map of Niagara River and Grand River] - part 1. 1815

    No full text
    Scale [ca. 1:180,000] Oriented with north to the bottom. Watermark: 'J Bates 1812' Relief shown by hachures. 'Map of Grand River &c. Map of River Niagara &c. &c.'' - title used in 'Mapping Upper Canada 1780-1867' / Joan Winearls. Digital reproduction of map (33 x 80 cm) in the Brock University Map, Data & GIS Library collection. Georeferenced and modified from Brock call # G 3462 N53 1815 M37 by Map, Data and GIS Library, Brock University

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The 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

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    “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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