1,720,956 research outputs found
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
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe 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
Tolerated Use 2.0: User-Generated Content, No Action Policies, and Controlled Monetisation of Fan Works in the Video Game Industry
No full textFan-made derivative works, licensed and unlicensed, are common on the internet. As evidenced by the best seller and box office sensation, Fifty Shades of Grey, which began as Twilight fan fiction, fan fiction is growing in popularity. Fan art, ranging from gallery-quality paintings to small t-shirt companies, are ubiquitous. Remixes and sampled music are more popular than ever, especially in hip-hop, rap, and electronic dance music. Finally, in the videogames industry, fan works are often encouraged as a means of generating and maintaining interest in particular games. User-generated content (UGC) is a term often used to describe this broad category of amateur, pseudo-amateur, and occasionally professional body of creative works. Tim Wu described this evolving form of expression fifteen years ago as ‘a giant grey zone in copyright, consisting of millions of usages that do not fall into a clear category but are often infringing.’ Wu went on to note that ‘the critical aspect of this phenomenon are uses of works that are of a mass quantity and low value per transaction.’
The law on fair use in America and its relative counterparts elsewhere are, at best, ambiguous with respect to user-generated content and, at worst, criminalise these expressions. With the exorbitant costs associated with defending against a copyright infringement action, especially in the United States, coupled with the low economic value of each individual work, there is little incentive for litigation. Therefore, there are very few recent judicial opinions related to this body of works.
However, in an attempt to bolster relationships with fans and users while retaining firm control over copyright works, corporate content owners have taken advantage of the current legal climate and sought to establish rules that function as pseudo-laws in the form of user-generated content policies. These ‘no-action policies,’ a term coined by Wu as he suggested their inception over 10 years ago, serve as public statements by content owners outlining to users the boundaries within which they may use copyrighted material to make new works. In other words, they outline potential uses of copyrighted content that will be tolerated. Whether these policies reflect the law as it would be interpreted by a judge is dubious at best, but they generally remain unchallenged.
The video game industry has grown to be one of the most prolific users of no-action policies to establish boundaries for secondary uses of their copyrighted content. This is likely due to a perfect storm consisting of creative and active fanbases, the value added by this secondary creativity to its own business, and the efficient means of creating these policies via the licenses already required for the industry to operate. This chapter will analyse UGC in the video game industry, the relevant law and how it might be applied to such creativity, industry perceptions and actions to clarify legal positions on UGC, and how tolerated use of UGC is evolving. It consists of four sections. Section one will outline what tolerated use is and how Tim Wu envisioned it in 2007. Section two will outline the legal implications of tolerated use, how policies can potentially expand and constrict users’ rights depending on jurisdiction, and generally the legal implications of using what Wu called ‘no-action policies’ to bridge gaps in copyright protection. Section three will outline how the video game industry currently implements tolerated use policies to shape users’ rights in distinct categories of potential infringements. Section four argues that tolerated use has evolved beyond the goal of clarifying enforcement objectives into a method of creating new revenue streams through fan-cooperation and informal collaboration, a practice that I describe as ‘controlled monetisation.’ It will demonstrate first how this practice evolved outside of the videogame industry and then how videogame companies have adopted and modified its principles. Finally, this chapter will conclude with an argument that tolerated use and its evolution towards controlled monetisation tread lightly between collaboration and exploitation. Clarification and, in some cases, expansion of the law from legislatures is needed to solidify users’ rights and avoid their dissolution
Tolerated Use 2.0: User-Generated Content, No Action Policies, and Controlled Monetisation of Fan Works in the Video Game Industry
No full textFan-made derivative works, licensed and unlicensed, are common on the internet. As evidenced by the best seller and box office sensation, Fifty Shades of Grey, which began as Twilight fan fiction, fan fiction is growing in popularity. Fan art, ranging from gallery-quality paintings to small t-shirt companies, are ubiquitous. Remixes and sampled music are more popular than ever, especially in hip-hop, rap, and electronic dance music. Finally, in the videogames industry, fan works are often encouraged as a means of generating and maintaining interest in particular games. User-generated content (UGC) is a term often used to describe this broad category of amateur, pseudo-amateur, and occasionally professional body of creative works. Tim Wu described this evolving form of expression fifteen years ago as ‘a giant grey zone in copyright, consisting of millions of usages that do not fall into a clear category but are often infringing.’ Wu went on to note that ‘the critical aspect of this phenomenon are uses of works that are of a mass quantity and low value per transaction.’
The law on fair use in America and its relative counterparts elsewhere are, at best, ambiguous with respect to user-generated content and, at worst, criminalise these expressions. With the exorbitant costs associated with defending against a copyright infringement action, especially in the United States, coupled with the low economic value of each individual work, there is little incentive for litigation. Therefore, there are very few recent judicial opinions related to this body of works.
However, in an attempt to bolster relationships with fans and users while retaining firm control over copyright works, corporate content owners have taken advantage of the current legal climate and sought to establish rules that function as pseudo-laws in the form of user-generated content policies. These ‘no-action policies,’ a term coined by Wu as he suggested their inception over 10 years ago, serve as public statements by content owners outlining to users the boundaries within which they may use copyrighted material to make new works. In other words, they outline potential uses of copyrighted content that will be tolerated. Whether these policies reflect the law as it would be interpreted by a judge is dubious at best, but they generally remain unchallenged.
The video game industry has grown to be one of the most prolific users of no-action policies to establish boundaries for secondary uses of their copyrighted content. This is likely due to a perfect storm consisting of creative and active fanbases, the value added by this secondary creativity to its own business, and the efficient means of creating these policies via the licenses already required for the industry to operate. This chapter will analyse UGC in the video game industry, the relevant law and how it might be applied to such creativity, industry perceptions and actions to clarify legal positions on UGC, and how tolerated use of UGC is evolving. It consists of four sections. Section one will outline what tolerated use is and how Tim Wu envisioned it in 2007. Section two will outline the legal implications of tolerated use, how policies can potentially expand and constrict users’ rights depending on jurisdiction, and generally the legal implications of using what Wu called ‘no-action policies’ to bridge gaps in copyright protection. Section three will outline how the video game industry currently implements tolerated use policies to shape users’ rights in distinct categories of potential infringements. Section four argues that tolerated use has evolved beyond the goal of clarifying enforcement objectives into a method of creating new revenue streams through fan-cooperation and informal collaboration, a practice that I describe as ‘controlled monetisation.’ It will demonstrate first how this practice evolved outside of the videogame industry and then how videogame companies have adopted and modified its principles. Finally, this chapter will conclude with an argument that tolerated use and its evolution towards controlled monetisation tread lightly between collaboration and exploitation. Clarification and, in some cases, expansion of the law from legislatures is needed to solidify users’ rights and avoid their dissolution
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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