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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
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
Beryl Graham, New Collecting: Exhibiting and Audiences after New Media Art
Get PDFEdité par Beryl Graham, New Collecting: Exhibiting and Audiences after New Media Art contribue à une mise à jour stimulante des réflexions les plus récentes sur la collection, l’exposition et la documentation d’œuvres d’art dites « nouveaux médias » - domaine d’étude qui évolue aussi rapidement que ses objets. Alors que les pratiques artistiques utilisant l’outil numérique étaient encore expérimentales et novatrices dans les années 1990, « les jeunes artistes liés aux médias travaillent aujou..
Documenting for Present Use: The Interplay of Documentation and Human Expertise in the Exhibition of Interactive Digital Installations
No full textThis article is interested in the documentation necessary for exhibiting interactive, digital installations, how it is created and how it influences the way an artwork is deployed in an exhibition. Digital artworks can be extremely difficult to install. They require specific knowledge, variable materials and technological equipment. Moreover, digital artworks can be ephemeral and subject to change. Documenting digital art is not only important for preserving and restoring works for the future but also for installing digital artworks in the present. Documentation functions as a set of guidelines for limiting errors and misinterpretations. Therefore, documentation impacts the actualisation of each artwork by indicating which elements are needed and how they should be connected. By providing instructions regarding how to install an artwork, documentation also allows the artist or the collecting institution to exercise authority over an artwork
Art, médium, média (sous la dir. de Pascal Krajewski)
Get PDFPublié sous la direction de Pascal Krajewski, Art, médium, média présente une sélection d’articles parus entre 2016 et 2017 dans la revue Appareil. L’introduction que le directeur d’ouvrage a rédigée pour ce recueil décline les différentes acceptions des termes médium et média dans leurs usages populaires (les médias de masse) ainsi que dans leurs usages scientifiques et artistiques. L’auteur retrace la généalogie du terme médium à travers ses grands penseurs : Clement Greenberg, Marshall McL..
Matériaux numériques dans des espaces physiques : Stratégies pour l'exposition d'installations numériques et au-delà dans les institutions d'art contemporain
No full textCette recherche interroge les nouvelles stratégies curatoriales relatives aux expositions d'œuvres d'art numérique dans des espaces physiques d'exposition. Par art numérique, j'entende les projets artistiques qui font usage de manière créative et critique de technologies telles que la programmation algorithmique, la réalité virtuelle ou augmentée, la robotique, l'utilisation des datas et les nouvelles formes d'apparition de l'image. Dans un monde où les outils numériques sont une condition structurante de la vie en société et de toute production culturelle (Stalder 2016), l'art numérique est un moyen puissant pour comprendre notre temps présent et notre avenir (Ertan 2016). Il peut offrir des approches et des récits alternatifs aux utilisations dominantes de la technologie, hautement influencées par le capitalisme mondialisé. L'institution artistique peut être un lieu unique permettant de réfléchir à l'influence prédominante des dispositifs technologiques sur nos vies et nos processus de pensée. Malgré le fait que ces œuvres numériques occupent maintenant une place importante dans le monde de l'art contemporain et peuvent se prévaloir d'une certaine historicité (Paul 2016), rares sont les travaux de recherche portant sur des nouvelles modalités de mise en exposition expérimentées pour ces œuvres et la façon dont l'art numérique nous incite à re-penser l'exposition (Dekker 2021). Les bouleversements opérés par le numérique transforment les modalités de production et d'exposition des œuvres. Des nouvelles stratégies curatoriales ont été expérimentées, et des modalités existantes on été adapté. En montrant ces ruptures et continuations avec une théorie et pratique de l'exposition existante ce de travail de thèse entend examiner finement comment les œuvres d'art utilisant les technologies numériques ont transformé notre façon de penser et de réaliser des expositions. Quelles sont les nouvelles stratégies curatoriales qui ont émergé s'appuyant sur l'interactivité, la variabilité, la matérialité technique des œuvres ? Comment s'articulent précisément les liens entre artiste, espace d'exposition, œuvre et spectateur dans ce nouveaux paradigme de l'exposition ? Comment évoluent des œuvres d'art dans le temps et comment est-ce qu'ils s'adaptent à des espaces d'expositions différents ? Annet Dekker, Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-curation, Amsterdam, Valiz, 2021.Ekmel Ertan, « Introduction to Histories of the Post-DigitalHistories of the Post Digital », Histories of the Post-DigitalHistories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016, p. 4-5.Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Felix Stalder, The Digital Condition, Cambridge, Polity Press, 2016, trad. par Valentine A. Pakis, Die Kultur der Digitalität, berlin, Surkamp Verlag, 2016.This research investigates new curatorial strategies for exhibiting digital artworks in physical exhibition spaces, with the term “digital art” referring to artistic projects that make creative and critical use of technologies such as algorithmic programming, virtual or augmented reality, robotics, the use of data, and new forms of image creation and distribution. In a world where digital tools are a structuring condition of life in society and of all cultural production (Stalder 2016), digital art represents a powerful means of understanding our present time and our future (Ertan 2016). It can offer alternative approaches and narratives to the dominant uses of technology, highly influenced by globalized capitalism. The art institution can also be a unique place to reflect on the predominant influence of technological devices on our lives and thought processes. Despite the fact that these digital works now occupy an important place in the contemporary art world and can claim a certain historicity (Paul 2016), there is little research into the new exhibition modalities experimented with these works and the way in which digital art prompts us to rethink the exhibitions (Dekker 2021). The upheavals wrought by digital technology are transforming the way works are produced and exhibited. New curatorial strategies have been experimented with, and existing modalities adapted to these different forms of artistic practice. By illustrating how these exhibitions both diverge from and simultaneously build upon existing exhibition theory and practice, this thesis aims to intricately examine how artworks utilizing digital technologies are transforming the ways in which we think about and build exhibitions. What new curatorial strategies have emerged based on the interactivity, variability, and technical materiality of the works? How are the links between artist, exhibition space, work, and viewer articulated in these new exhibition paradigms? How do artworks evolve over time, and how do they adapt to different exhibition spaces?Annet Dekker, Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-curation, Amsterdam, Valiz, 2021. Ekmel Ertan, « Introduction to Histories of the Post-DigitalHistories of the Post Digital », Histories of the Post-DigitalHistories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016, p. 4-5. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Felix Stalder, The Digital Condition, Cambridge, Polity Press, 2016, trad. par Valentine A. Pakis, Die Kultur der Digitalität, berlin, Surkamp Verlag, 2016
What Do Museums Collect?
Get PDFWhat Do Museums Collect? reprend les actes d’un colloque éponyme, deuxième volet d’une série de colloques organisée par le musée national d’Art moderne et contemporain de Corée (MMCA). Les deux parties bien distinctes de ce livre se penchent sur deux facteurs qui induisent des changements dans les pratiques muséales de la collection : premièrement, les discours liés à l’altérité et à la représentation de l’autre dans un monde à la fois postcolonial et globalisé ; deuxièmement, l’utilisation d..
Documenting for Present Use: The Interplay of Documentation and Human Expertise in the Exhibition of Interactive Digital Installations
Get PDFThis article is interested in the documentation necessary for exhibiting interactive, digital installations, how it is created and how it influences the way an artwork is deployed in an exhibition. Digital artworks can be extremely difficult to install. They require specific knowledge, variable materials and technological equipment. Moreover, digital artworks can be ephemeral and subject to change. Documenting digital art is not only important for preserving and restoring works for the future but also for installing digital artworks in the present. Documentation functions as a set of guidelines for limiting errors and misinterpretations. Therefore, documentation impacts the actualisation of each artwork by indicating which elements are needed and how they should be connected. By providing instructions regarding how to install an artwork, documentation also allows the artist or the collecting institution to exercise authority over an artwork
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