124,734 research outputs found
Onthophagus (Sinonthophagus) nampatensis Tarasov & Kabakov, sp.n.
No full text<i>Onthophagus (Sinonthophagus) nampatensis</i> Tarasov & Kabakov sp.n. <p>(Figs. 1 c, d; 3a–d)</p> <p> <b>Material examined.</b> <i>Holotype</i> (ZMUC), male bearing the following labels: 1. White, printed: LAOS, Khammouane prov. 10km W of Ban Khun Kham (Nahin) N18°8.922' E104°28.629', h 280m, limestone tropical forest, dung trap (human). 4– 18.06.2008 leg. S. Tarasov</p> <p> 2. Orange, printed: HOLOTYPUS <i>Onthophagus (Sinonthophagus) nampatensis</i> S. Tarasov & O. Kabakov det. 2009</p> <p> <i>Paratypes</i>: 1 3, Laos, Khammouane province 10km W of Ban Khun Kham (Nahin) N18°8.922' E104°28.629', h 280m, limestone tropical forest, dung trap 4– 18.06.2008 leg. S. Tarasov; 1 3, North Thailand, Doi Suthep, 19.6.1958, h 1100m, leg. B. Degerbøl (ZMUC).</p> <p> <b>Description.</b> Body black, slightly lustrous, elytra with stronger luster; antennae and mouthparts orange; elytra and abdomen with short black setae turning white depending on light angle; rest of abdominal side and pygidium with long, orange hairs. Length 10.0– 12.8 mm.</p> <p> <i>Male major</i> (Fig. 1 c). Head rounded; frontoclypeal ridge slightly expressed, in smaller males more distinct; vertex with a pair of long, tapering and inwardly-rounded horns connected by ridge; eyes completely divided by genal appendage; clypeus densely, transversely rugulose.</p> <p>Pronotum with distinct excavations near anterior angles, anterior part protruding forward between cephalic horns; postlateral section strongly sinuate; anterior and lateral edges marginate, basal edge shortly marginate only near median basal depression; anterior angles slightly protruded forward, widely rounded; pronotal disc covered with simple, sparse punctures (separated by 1–2 puncture diameters) becoming denser and rasplike anteriorly; anterior part of propleura with ridge almost reaching propleural lateral margin.</p> <p>Elytra shagreened, sparsely and densely punctured.</p> <p>Protibia with four outer teeth, median part of anterior edge slightly produced into triangle tooth, internal apical angle with small tooth; apical spur short, acuminate; metatibiae strongly triangularly broadened toward apex; mesotibial and metatibial apex with short and long setae.</p> <p>Aedeagus as in Figs. 3 c, d. Lamella copulatrix with additional internal sclerite (AIS) and small additional lateral sclerite (ALS) (Fig. 3 a); superior part simple (Fig. 3 b).</p> <p> <i>Female</i>. Unknown.</p> <p> <i>Va r i a t i o n</i>. Males vary allometrically in the degree of expression of such body parts as horns, pronotum and punctation. Small males (Fig. 1 d) usually have small horns; anterior part of pronotum with two tubercles medially; pronotum flatter, not concave; disc more densely punctured.</p> <p> <i>Holotype</i> (Fig. 1 c). Major male, Length 12.8 mm. Body black, slightly lustrous, elytra with stronger luster; antennae and mouthparts orange. Head rounded; frontoclypeal ridge weakly expressed (more distinct in smaller males); vertex with a pair of long, tapering and inwardly-rounded horns connected by ridge. Pronotum with distinct excavations near anterior angles, anterior part protruding forward between cephalic horns; disc covered with simple, sparse punctures (separated by 1–2 puncture diameters) becoming denser and rasplike anteriorly.</p> <p> <b>Differential diagnosis.</b> The new species is most similar to <i>Onthophagus (Sinonthophagus) productus</i> Arrow, 1907 but differs by slightly sparser punctation of the pronotum and distinctly different shape of parameres. It can be also separated from all other species of the subgenus <i>Sinonthophagus</i> Kabakov, 2006 by the unique shape of parameres with protruding lateral lobes (Figs. 3 c, d).</p> <p> <b>Taxonomic notes.</b> This species has been already cited in two papers as <i>nomen novum in litteris</i> (Kabakov & Napolov 1999, Kabakov 2006) but has not been described. Moreover, the specimen previously indicated as the holotype (Kabakov 1999) is not included in the type series in this paper because its aedeagus was lost. Though we are certain that the specimen previously chosen as the holotype is conspecific with the current type specimens (also it was collected in the same area with the holotype), we deliberately excluded it from the type series because the new species can be reliably separated from the close <i>O. productus</i> only by the characters of structure of parameres. For practical reasons we use the same species name as the <i>nomen nudum</i> in Kabakov & Napolov (1999) and Kabakov (2006).</p> <p> <b>Distribution and Ecology.</b> The new species is known only from north Thailand and central Laos (Fig. 4). In Laos, this species was collected by pitfall traps baited with human dung installed in limestone forest.</p>Published as part of <i>Tarasov, Sergey I. & Kabakov, Oleg N., 2010, Two new species of Onthophagus (Coleoptera: Scarabaeidae) from Indochina, with a discussion of some problems with the classification of Serrophorus and similar subgenera, pp. 17-28 in Zootaxa 2344</i> on pages 21-22, DOI: <a href="http://zenodo.org/record/193356">10.5281/zenodo.193356</a>
Joseph Kosuth und Ilya Kabakov
No full textDie Dissertation vergleicht die Konzeptkunst in New York und den Moskauer Konzeptualismus am Beispiel zwei ihrer zentralen Vertreter: Joseph Kosuth und Ilya Kabakov. Beide haben unter dem Titel "The Corridor of Two Banalities" 1994 gemeinsam eine Installation realisiert. In Kosuth und Kabakov fanden die Zeitgenossen und Nachfolger sowohl ihr Vorbild als auch Gegenbild. In komparatistischer Perspektive werden Probleme diskutiert (z. B. das der (Selbst-)Referentialität), die die Diskussion über konzeptuelle Kunst begleiten, und konzeptuelle Kunst als Scharnier zwischen Moderne und Postmoderne erscheinen lassen. Konzeptkünstler betrachten kunsttheoretische und -historische Überlegungen in demselben Maße als selbstverständlichen Teil ihrer künstlerischen Arbeit, wie Kunst als universelle Kategorie für sie ihre Selbstverständlichkeit verloren hat. Sie setzen sich mit deren Rahmenbedingungen auseinander, die diktieren, was zu einer bestimmten Zeit und an einem bestimmten Ort als Kunst wahrgenommen wird. Die Dissertation konzentriert sich daher auf die Frage, wie Kosuth und Kabakov die (Konzept-)Kunst diesseits und jenseits des Eisernen Vorhangs selbst konzeptualisieren. Unter Einbeziehung der Rezeptionsgeschichte wird untersucht, welche Vorstellung von Autor- und Leserschaft Kosuth und Kabakov entwerfen, vom welchem Werkbegriff sie ausgehen und auf welche sprachphilosophischen Modelle sie sich dabei beziehen.The thesis compares the Conceptual Art in New York with the Moscow Conceptualism while using the example of two of their greatest representatives: Joseph Kosuth and Ilya Kabakov. Together, they have created an installation entitled "The Corridor of Two Banalities" (1994). For their contemporaries and successors, Kosuth and Kabakov served as models or just the opposite. In a comparatistical perspective the thesis discusses problems (e.g. the (self-)referentiality) which go along with the debate about conceptual art and which let the conceptual art appear as a link between modernism and postmodernism. For conceptual artists, theoretical and historical considerations of art form an evident part of their artistic work to the same degree as art as a universal category has lost its self-evidence for them. They examine its frame conditions which dictate what is being considered as art at a specific time and in a specific place. Hence the thesis focusses on the question about the ways Kosuth and Kabakov conceptualise the (Conceptual) Art on both sides of the Iron Curtain. Taking into account the reception history it examines which concept of author- and readership Kosuth and Kabakov formulate, which definition of artwork they have assumed and which models of philosophy of language they refer to
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Dispelling the Myths Behind First-author Citation Counts
No full textWe 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
Jüri Okas’ ‘specific objects’: diverging discourses in Estonian Art in the 1970s.
No full textPreviously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000367/Article 3 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.This article will look at the early works of Estonian architect and artist Jüri Okas and will try to work between diverging languages and interpretations, reading works by Okas against the background of Anglo-american conceptualism and minimalism of the same period. The first part of the paper will analyse a print by Jüri Okas that paraphrases works by the American artist Donald Judd and will try to show how Okas’ concept of minimalism differed from the Western one and the reasons behind it. The second part of the paper will focus on a conceptual book by Jüri Okas, consisting of a series of photographs of everyday and banal architectural objects, and compare it to Rober Venturi’s book on Complexity and Contradiction in Architecture. Finally, a comparison will be made with works of Robert Smithson in the context of concepts of waste, excess and the remainders of industrial civilisationPostprin
Pragmatic Case Studies as a Source of Unity in Applied Psychology
No full textTo unify or not to unify applied psychology: that is the question. In this article we review pendulum swings in the historical efforts to answer this question—from a comprehensive, positivist, “top-down,” deductive yes between the 1930s and the early 60s, to a postmodern no since then. A rationale and proposal for a limited, “bottom-up,” inductive yes in applied psychology is then presented, employing a case-based paradigm that integrates both positivist and postmodern themes and components. This paradigm is labeled “pragmatic psychology” and, its specific use of case studies, the “Pragmatic Case Study Method” (“PCS Method”). We call for the creation of peer-reviewed journal-databases of pragmatic case studies as a foundational source of unifying applied knowledge in our discipline. As one example, the potential of the PCS Method for unifying different angles of theoretical regard is illustrated in an area of applied psychology, psychotherapy, via the case of Mrs. B. The article then turns to the broader historical and epistemological arguments for the unifying nature of the PCS Method in both applied and basic psychology.Peer reviewe
Dr. Edwin Wright Collection: Author Unknown
No full textNotes - The author relates several short stories about his neighbours including Alex McDonell, homesteading and life around Meanook and Athabasca (1 page
Appropriate Similarity Measures for Author Cocitation Analysis
No full textWe 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
Measurement of the ratio of branching fractions B(B0→K∗0γ )/B(B0s→φγ ) and the directCP asymmetry inB 0→K∗0γ
No full textThe ratio of branching fractions of the radiative B decays B0→K⁎0γ and B0s→ϕγ has been measured using an integrated luminosity of 1.0 fb−1 of pp collision data collected by the LHCb experiment at a centre-of-mass energy of s√=7TeV. The value obtained is
B(B0→K⁎0γ)B(B0s→ϕγ)=1.23±0.06(stat.)±0.04(syst.)±0.10(fs/fd),
where the first uncertainty is statistical, the second is the experimental systematic uncertainty and the third is associated with the ratio of fragmentation fractions fs/fd. Using the world average value for B(B0→K⁎0γ), the branching fraction B(B0s→ϕγ) is measured to be (3.5±0.4)×10−5.
The direct CP asymmetry in B0→K⁎0γ decays has also been measured with the same data and found to be
ACP(B0→K⁎0γ)=(0.8±1.7(stat.)±0.9(syst.))%.
Both measurements are the most precise to date and are in agreement with the previous experimental results and theoretical expectations
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
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