1,721,003 research outputs found
Inventive Life: Approaches to the New Vitalism
No full textThis book demonstrates how and why vitalism - the idea that life cannot be explained by the principles of mechanism - matters now. Vitalism resists closure and reductionism in the life sciences whilst simultaneously addressing the object of life itself. The aim of this collection is to consider the questions that vitalism makes it possible to ask: questions about the role and status of life across the sciences, social sciences and humanities and questions about contingency, indeterminacy, relationality and change. All have special importance now, as the concepts of complexity, artificial life and artificial intelligence, information theory and cybernetics become increasingly significant in more and more fields of activity
Whose Book is it Anyway?: A View from elsewhere on publishing, copyright and creativity
Full text linkWhose Book is it Anyway? is a provocative collection of essays that opens out the copyright debate to questions of open access, ethics, and creativity. It includes views – such as artist’s perspectives, writer’s perspectives, feminist, and international perspectives – that are too often marginalized or elided altogether.
The diverse range of contributors take various approaches, from the scholarly and the essayistic to the graphic, to explore the future of publishing based on their experiences as publishers, artists, writers and academics. Considering issues such as intellectual property, copyright and comics, digital publishing and remixing, and what it means (not) to say one is an author, these vibrant essays urge us to view central aspects of writing and publishing in a new light.
Whose Book is it Anyway? is a timely and varied collection of essays. It asks us to reconceive our understanding of publishing, copyright and open access, and it is essential reading for anyone invested in the future of publishing
Whose Book Is it Anyway?
No full textWhose Book is it Anyway? is a provocative collection of essays that opens out the copyright debate to questions of open access, ethics, and creativity. It includes views — such as artist's perspectives, writer's perspectives, feminist, and international perspectives — that are too often marginalized or elided altogether. The diverse range of contributors take various approaches, from the scholarly and the essayistic to the graphic, to explore the future of publishing based on their experiences as publishers, artists, writers and academics. Considering issues such as intellectual property, copyright and comics, digital publishing and remixing, and what it means (not) to say one is an author, these vibrant essays urge us to view central aspects of writing and publishing in a new light. Whose Book is it Anyway? is a timely and varied collection of essays. It asks us to reconceive our understanding of publishing, copyright and open access, and it is essential reading for anyone invested in the future of publishing. As with all Open Book publications, this entire book is available to read for free on the publisher's website. Printed and digital editions, together with supplementary digital material, can also be found at www.openbookpublishers.co
Confronting Authorship, Constructing Practices (How Copyright is Destroying Collective Practice)
No full textIn this chapter I investigate the coercive relationship between authorship and copyright from the perspective of intersectional feminist and de-colonial knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland and the Piracy Project) which all try to challenge the close ties between copyright and authorship – although with very different outcomes – I will show how the concept of authorship grounded in possessive individualism creates considerable blockages for critical art, education and collective practice. Trying to politicise individual authorship and to escape its construction through legal, economic and institutional frameworks, I discuss how this chapter would circulate in current systems of dissemination, validation and authorisation, if I did not assign my name to it, if it went un-authored so to speak. From a de-colonial feminist perspective, however, authorship after all marks the positionality of the speaking subject in order to account for the often unacknowledged eurocentrism of western philosophy (Gayatry Spivak). Acknowledging this double bind, I wonder, how we might eventually be able to invent modes of being and working together that recognise the difference of the ’who’ that writes, and at the same time might be able to move on from the question ‘how can we get rid of the author’ to inventing processes of subjectivation that we want to support and instigate
Astrobiology and the Search For Life on Mars
Full text linkIntroduction: What is Life?
J. B. S. Haldane (1949) and Erwin Schrödinger (1944), two of the twentieth century’s most influential scientists, posed the direct question, ‘what is life?’ and declared that it was a question unlikely to find an answer. Life, they suggested, might exceed the ability of science to represent it and even though the sciences of biology, physics and chemistry might usefully describe life’s structures, systems and processes, those sciences should not seek to reduce it to the sum of its parts. While Schrödinger drew attention to the physical structure of living matter, including especially the cell, Haldane asserted that ‘what is common to life is the chemical events’ (1949: 59) and so therefore life might be defined, though not reduced, to ‘a pattern of chemical processes’ involving the use of oxygen, enzymes and so on
Editorial
No full textSarah Kember's contribution, which is part theory, part practice (the practice of fiction), seeks to offer an understanding of photography and photographs beyond that provided by the humanities (and by humanist discourse of both the art‐historical and the “visual cultural” kind). In the first part (“The Virtual Life of Photography”) she turns to Bergson to reinterpret Barthes's ontological enquiry in Cameras Lucida, and to the study of new media and science and technology studies (STS) to theorise photography's contemporary condition. Kember places photography firmly within its (new) media ecology: an ecology in which no medium stands alone, hard‐walled and untouched by others; this is an ecology in which convergence has taken place, not only between media, but also between technology, information, and the biological sciences, a condition within which photography is now entangled. Yet, she argues, we do not know what photography is (although she suggests how we might get closer to knowing) not only because of the limits of the theories seen as legitimate to address the question but also, following Bergson, because of a dominance of intellect and an atrophy of intuition as a method of enquiry. This, she suggests, is a situation that disables our ability to grasp an ontology of “becoming”, the very kind to which she sees photography belonging. In the second part (“Of Murder and Metamorphosis”) Kember proceeds to explore the kind of account that her analysis of photography's ontology and condition might generate. She considers a fictional report of (as she presents it) an invisible event – a photograph of a man being struck by lightening. In a mode that is itself a hybrid of academic research and fiction, Kember reflects upon how such an event might be understood when media studies, physics, biology, mythology, and medicine, as well as an address to photography as culture, are used to investigate processes that are always both natural and cultural, social and technological, material and metaphorical
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
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