1,720,956 research outputs found
Design Week : from the event to the reconfiguration of everyday life : Semiotic approach
No full textCette thèse vise à interroger le phénomène de spectacularisation du design qui se manifeste à travers des évènements de grande envergure, à l’échelle d’une ville. Nous souhaitons porter un autre regard sur le design en adoptant celui de l’instance de réception. Quel en est le profil ? Quel rapport entretient-elle avec l’objet exposé ? Comment construit-elle une signification du design à travers une expérience de visite d’exposition ? Quel impact a cette confrontation au contexte évènementiel sur le quotidien de l’instance de réception ? Notre terrain de recherche, la Design Week, a été choisi pour deux raisons : d’abord son nom qui évoque un lieu de représentation du design, puis son succès en termes de fréquentation et de visibilité médiatique. La Design Week de Milan, parce qu’elle est considérée comme l’épicentre du phénomène, et la Design Week de Paris, parce qu’elle a un historique dans l’organisation d’évènements de design avec des caractéristiques similaires. Une méthodologie interdisciplinaire a été construite pour pouvoir rendre compte de ce qui se joue lors d’un évènement de cette envergure. Elle mêle l’anthropologie, la sémiotique, les sciences de l’information et de la communication en se nourrissant régulièrement de la sociologie et de la philosophie. Dans un premier temps, nous avons voulu définir la Design Week. Nous l’avons donc confrontée aux notions d’évènement, d’exposition, de spectacle et de dispositif. Le point d’approche choisi est alors la scénographie en tant qu’interface entre le sujet, l’objet et l’espace. Dans un second temps, nous avons voulu observer l’expérience de l’évènement. Ainsi, nous avons segmenté la Design Week selon cinq échelles d’observation que nous avons considérées comme des scènes, chacune donnant accès à un niveau de lecture différent pour le visiteur. Ceci nous a conduit à effectuer un profilage des visiteurs selon leurs compétences. Ensuite, en nous appuyant sur la théorie sémiotique de la factitivité, nous avons pu observer leur performance selon deux formes énonciatives scénographiques, injonctive et permissive. Ceci a donné lieu aux derniers questionnements à propos des enjeux stratégiques de cet évènement. Nous avons ainsi voulu mettre en évidence une matrice organisationnelle fractale qui régit le fonctionnement de la Design Week. Selon cette logique, en se stabilisant et en se dupliquant, elle se constitue en forme-marque répondant au fonctionnement d’un dispositif de spectacularisation. Celui-ci conditionne la construction de la signification du design chez le visiteur « ordinaire ». A travers cette thèse, nous questionnons la relation entre l’évènementiel et le quotidien sous le prisme du design. Ainsi, nous souhaitons actualiser le débat autour du design, en tant que notion, en tant que métier, en tant que discipline universitaire et enfin en tant que mode de pensée susceptible d’influencer la configuration des sociétés actuelles et futures.This thesis aims to question the phenomenon of spectacularization of design that can be observed through large-scale events, such as the scale of a city. We are interested in reviewing design by adopting the receiving instance’s point of view. What is its profile? What relationship does it have with the exhibit object? How does it build a meaning of design through an exhibition visit experience? What impact could this confrontation have on the everyday experience? Our field of research, the Design Week, was chosen for two reasons: first its name evokes a place of representation of design, then its success in terms of frequentation and media visibility. Milan Design Week, because it is considered as the epicenter of the phenomenon, and Paris Design Week, because this city has a history in the organization of design events with similar characteristics. An interdisciplinary methodology was built to be able to give an account of an event of this magnitude. It mixes anthropology, semiotics, information and communication sciences by regularly feeding on sociology and philosophy. First of all, we defined the Design Week. To do that, we confronted it with the notions of event, exhibition, show and device. The approach chosen, is therefore scenography as an interface between the subject, the object and the space. Secondly, we wanted to observe the experience of the event. Thus, we segmented the Design Week into five observation scales that we considered as scenes, each scene giving access to a different level of reading for the visitor. This led us to profile visitors according to their skills. Then, based on the semiotic theory of factitivity, we could observe their performance according to two scenographic enunciative forms, injunctive and permissive. This gave rise to the latest questions about the strategic issues of this event. We wanted to highlight a fractal organizational matrix that governs the operation of the Design Week. According to this logic, by stabilizing and duplicating itself, it is constituted in a brand that responds to the operation of a spectacularization device. This determines the construction of the meaning of design for the "ordinary" visitor. Through this thesis, we question the relationship between events and everyday life under the prism of design. Thus, we want to update the debate around design, as a notion, as a profession, as a university discipline and finally as a way of thinking that can influence the configuration of current and future societies
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
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe 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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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