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The Aura of Eccentricity: Reflections on Outsider Art Rhetoric and its Impact on a Critical Discourse
No full textIn the field of Art History, affecting art with the artist’s aura is a central mechanism of canon creation that mythologizes artists into objects of desire. This tendency permeates outsider art whose appeal is rooted in biographical exceptionalism and eccentricity rather than aesthetic aptitude (see Morgan 2018). Reviewing the work of Henry Darger, Eugene Von Bruenchenhein, and A.G. Rizzoli—artists whose works are accumulative, some suggest compulsive, in reiteration and magnitude—this essay explores the pitfalls of projecting an aesthetic affect onto the artist and in turn building their value upon a fabricated aura of eccentricity. The aura of eccentricity resides at the nexus between material and idea. It is both real and mythologized, materially communicated through excess, opulence, and exaggeration of shapes, scale, colour, and medium yet ideologically created in the realm of differentiating adjectives and semantic flourishes. Engaging with Walter Benjamin and Theodor Adorno, this essay argues that material culture demands self-awareness of our own interpretive prejudices, in this case fashioning the artist outsider with eccentric narratives retroactively projected upon them through the interpretation of their work.Dans le domaine de l’histoire de l’art, le fait de répercuter l’aura de l’artiste sur l’art constitue un mécanisme central de création d’un canon qui mythifie les artistes et en fait des objets de désir. Cette tendance imprègne l’art marginal, dont l’attrait s’enracine dans l’exception biographique et l’excentricité plutôt que dans une aptitude esthétique (voir Morgan 2018). Passant en revue les oeuvres d’Henry Darger, Eugene von Bruenchenhein et A.G. Rizzoli – des artistes dont les travaux ont un caractère cumulatif, certains diraient compulsif, du fait de leur réitération et de leur ampleur – cet article explore le danger de projeter un affect esthétique sur l’artiste et en retour de construire la valeur des artistes sur une aura d’excentricité artificielle. L’aura d’excentricité réside au croisement du matériel et de l’idée. Elle est à la fois réelle et mythifiée, elle se communique matériellement par l’excès, l’opulence et l’exagération des formes, de l’échelle, de la couleur et du médium, tout en étant créée, sur un plan idéologique, dans un royaume où fleurissent les adjectifs distinctifs et la sémantique. Dans un dialogue avec Walter Benjamin et Theodor Adorno, cet article avance que la culture matérielle exige que nous soyons avertis de nos propres préjugés interprétatifs, qui consistent dans ce cas, lorsque l’on interprète les oeuvres de l’artiste marginal, à projeter rétrospectivement sur lui un narratif d’excentricité
The Aura of Eccentricity: Reflections on Outsider Art Rhetoric and its Impact on a Critical Discourse
No full textIn the field of Art History, affecting art with the artist’s aura is a central mechanism of canon creation that mythologizes artists into objects of desire. This tendency permeates outsider art whose appeal is rooted in biographical exceptionalism and eccentricity rather than aesthetic aptitude (see Morgan 2018). Reviewing the work of Henry Darger, Eugene Von Bruenchenhein, and A.G. Rizzoli—artists whose works are accumulative, some suggest compulsive, in reiteration and magnitude—this essay explores the pitfalls of projecting an aesthetic affect onto the artist and in turn building their value upon a fabricated aura of eccentricity. The aura of eccentricity resides at the nexus between material and idea. It is both real and mythologized, materially communicated through excess, opulence, and exaggeration of shapes, scale, colour, and medium yet ideologically created in the realm of differentiating adjectives and semantic flourishes. Engaging with Walter Benjamin and Theodor Adorno, this essay argues that material culture demands self-awareness of our own interpretive prejudices, in this case fashioning the artist outsider with eccentric narratives retroactively projected upon them through the interpretation of their work.Dans le domaine de l’histoire de l’art, le fait de répercuter l’aura de l’artiste sur l’art constitue un mécanisme central de création d’un canon qui mythifie les artistes et en fait des objets de désir. Cette tendance imprègne l’art marginal, dont l’attrait s’enracine dans l’exception biographique et l’excentricité plutôt que dans une aptitude esthétique (voir Morgan 2018). Passant en revue les oeuvres d’Henry Darger, Eugene von Bruenchenhein et A.G. Rizzoli – des artistes dont les travaux ont un caractère cumulatif, certains diraient compulsif, du fait de leur réitération et de leur ampleur – cet article explore le danger de projeter un affect esthétique sur l’artiste et en retour de construire la valeur des artistes sur une aura d’excentricité artificielle. L’aura d’excentricité réside au croisement du matériel et de l’idée. Elle est à la fois réelle et mythifiée, elle se communique matériellement par l’excès, l’opulence et l’exagération des formes, de l’échelle, de la couleur et du médium, tout en étant créée, sur un plan idéologique, dans un royaume où fleurissent les adjectifs distinctifs et la sémantique. Dans un dialogue avec Walter Benjamin et Theodor Adorno, cet article avance que la culture matérielle exige que nous soyons avertis de nos propres préjugés interprétatifs, qui consistent dans ce cas, lorsque l’on interprète les oeuvres de l’artiste marginal, à projeter rétrospectivement sur lui un narratif d’excentricité
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
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