1,724,990 research outputs found
Evaluation of microwave soil moisture data for monitoring live fuel moisture content (LFMC) over the coterminous United States
No full textLive fuel moisture content (LFMC), which is the ratio of water in the fresh biomass to the dry biomass, is a key variable that affects wildfire behaviour. Previous studies have assessed soil moisture as a predictor of LFMC over small areas with limited data, but a comprehensive evaluation at sub-continental scale is still lacking, and the explanatory utility has not been evaluated under different aridity conditions. In this study, the utility was evaluated using microwave soil moisture data from the ESA ECV_SM product from 1979 to 2018 and LFMC data from over 1000 sites in the coterminous United States. A time-lagged robust linear regression model was adopted, and the results were compared with analysis from in situ soil moisture measurements at adjacent sites. The results suggested that at most sites the LFMC correlates best with soil moisture within 60 days prior to LFMC sampling, and that the correlation is lower in areas with complex terrain. LFMC can be estimated from soil moisture with a mean RMSE of around 20%. The correlation between LFMC and soil moisture is significant (p<0.01) in most regions, and is mostly stable in different years. The major fuel types with a high response to soil moisture include pine, redcedar, sagebrush, oak, manzanita, chamise, mesquite and juniper, depending on the region. The LFMC ~ soil moisture correlation varies with the aridity condition, and soil moisture has a higher explanatory utility on LFMC under dry conditions. An analysis using SMAP Level-4 product indicated that the surface and root-zone soil moisture perform similarly in LFMC estimation. This study suggests that microwave soil moisture data contain sufficient information on LFMC, and may serve as a reference for the development of more sophisticated LFMC estimation methods.</p
Hibridaciones en la obra de Lu Yang
Full text link[ES] El nombre de Lu Yang sobresale en el panorama más reciente del arte multimedia chino. Formada en la China Academy of Art de Hangzhou y actualmente basada en Shanghai, esta artista es uno de los principales exponentes de esta disciplina en el país asiático, habiendo expuesto su trabajo en la Bienal de Venecia, la Bienal de Shanghai o el Centro Pompidou. Su obra, en ocasiones fuente de controversia, gira en torno a temáticas como la biología, la neurociencia o el pensamiento religioso. Para ello se sirve de diferentes técnicas de representación gráfica (animación 3D, VR); así como de recursos como la estética y la narrativa del videojuego, la ciencia ficción o el anime, dotando a su obra de un carácter abigarrado y colorido que frisa lo kitsch. Este trabajo realiza un recorrido por las piezas más conocidas de Lu Yang, desde “Reanimation! Underwater Zombie Frog Ballet” (2011) hasta sus posteriores Delusional Mandala (2015) o Moving Gods (2015), tomando el cuerpo como eje central de su obra. Así, a través de avatares diseñados digitalmente y de sus diferentes relatos, Lu Yang aborda el cuerpo como lugar en el que desaparece la distinción entre humano y máquina. El cuerpo es presentado como mecanismo biológico, despojado de implicaciones políticas o agencia moral. En varias de sus obras, el avatar (en ocasiones, encarnando a la artista a modo de doble virtual) es sometido a simulaciones de estimulación cerebral, provisto de ítems con los que desarrollar nuevas acciones, o analizado quirúrgicamente en sus atributos, recurriendo adicionalmente al texto explicativo y al close-up. El cuerpo se configura como una extensión de la tecnología utilizada para (re)crearlo, pero también capaz de intervenir en ella y usurparla. Una perspectiva que resulta, también, liberadora: ajenos a las imposiciones biológicas y culturales propias de la realidad no-artificial, los avatares de Yang trascienden el binarismo sexual, y sus cuerpos adquieren una dimensión divina o sobrehumana, siempre mediada por las mecánicas de la tecnología. De este modo, son capaces de participar en una subversión irónica del género (Uterus Man, 2014) o de la enfermedad (Cancer Baby, 2014). Una distancia que sólo es posible dentro de las estrategias brindadas por la virtualidad, y mediante la cual abordan cuestiones relacionadas con la muerte o la conciencia. De este modo, la obra de Lu Yang se conforma como un doble despliegue de savoir faire tecnológico. Por un lado, en el propio medio: el vídeo como el sofisticado resultado de la aplicación de diferentes softwares y el recurso musical y textual, propio de la cultura mainstream. Asimismo, Lu Yang enmarca y defiende su obra en vídeo dentro de un entorno (Internet), que determina su concepción, circulación y autonomía. Por otro lado, su reflexión tecnológica operará a través del cuerpo del avatar, híbrido de ingeniería y mitología, donde mente y materia se encuentran en conflicto.Galván García De Las Bayonas, A. (2022). Hibridaciones en la obra de Lu Yang. En EShID2021 - II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Editorial Universitat Politècnica de València. 213-227. https://doi.org/10.4995/EShID2021.2021.13223OCS21322
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
Lu Yang : une esthétique aberrante
Full text linkCette thèse de doctorat intitulée Lu Yang : une esthétique aberrante cherche à étudier dans une perspective à la fois philosophique et conceptuelle la création médiatique de l’artiste chinois Lu Yang (1984-) ( 陆扬) entre les années 2013 et 2020. À travers l’animation digitale, des installations et des performances, l’artiste conceptualise de nouvelles configurations des sexes, des genres, du corps et de la conscience qui échappent aux paramètres de la normativité et qui contribuent à déconstruire et à repenser autrement l’anthropomorphisme. Ces nouvelles configurations des sexes, du corps et de la conscience possèdent la particularité d’être aberrantes. Elles remettent aussi en cause la distinction entre le rationnel et l’irrationnel mais aussi entre ce qui est considéré comme « normal » ou « anormal ». L’hypothèse de la recherche est alors la suivante : l’artiste crée et développe une esthétique aberrante caractérisée par des logiques irrationnelles mais aussi par un imaginaire singulier qui relève de l’étrange, de l’anormal, du monstrueux, et du grotesque. L’esthétique aberrante comme il le sera démontré tout au long de cette thèse, contribue simultanément à faire éclater les normes sociales, à remettre en question et à transgresser les limites et les frontières sexuelles et corporelles et à proposer de nouvelles conceptions et configurations de la subjectivité. Ainsi, les questions fondamentales posées par cette thèse sont les suivantes : comment l’oeuvre médiatique de Lu Yang développe-t- elle une esthétique aberrante ? Quelles sont les fonctions et composantes à la fois visuelles et sonores de cette esthétique ? Que nous révèle cette esthétique du point de vue philosophique et conceptuel mais aussi d’un point de vue politique ? Comment propose-t- elle de nouvelles perspectives critiques sur l’art contemporain chinois ? Mon analyse des films et des performances définit trois modalités distinctes de l’esthétique aberrante qui caractérise ses oeuvres. La première modalité développée dans le premier chapitre, s’associe à la question du sexe et de la reproductivité, à travers ce que je vais nommer le sexe-aberrant. La deuxième modalité repose plutôt sur le corps et explore ses nombreuses déformations à travers ce que je définis comme une esthétique du grotesque. Finalement, la troisième et dernière modalité, repose sur l’esprit et la conscience et cet aspect demeure étroitement lié à l’intérêt de l’artiste pour la neuroscience et le bouddhisme. À partir de ces éléments, je démontrerai alors comment l’artiste crée ce que j’appelle une cosmo- technique aberrante. Le corpus de cette thèse se constitue ainsi des cinq oeuvres suivantes : Uterus Man (2013), Delusional Mandala (2015), Electromagnetic Brainology (2017), Electromagnetic Brainology Brain Control Messenger (2018) et, Delusional World (2020).This doctoral thesis entitled Lu Yang: An Aberrant Aesthetic analyze through a philosophical and conceptual approach the artwork of Chinese new media artist Lu Yang ( 陆扬) (1984-). The artist creates vibrant and sophisticated live-action films, 3D animation, video games installations, and motion capture performance. In these films and performances, the artist visualizes alternative configurations of sexes, bodies, and minds that challenges normativity while deconstructing anthropocentrism and the boundaries between normality and abnormality. These new configurations of sex, body, and mind are aberrant. The main hypothesis of this research is the following: the artist conceptualizes and create what I call an aberrant aesthetic that is characterized by an irrational logic but also a deviant imagination featuring the grotesque, the bizarre, and the monstrous. Then, the following questions can be asked: how does Lu Yang’s media art develop an aberrant aesthetic? What are the visual and sonic functions and components of this aesthetic? What does this aesthetic reveal to us from a philosophical and conceptual point of view, but also from a political point of view? How does this aesthetic offer new critical perspectives on contemporary Chinese art? My analysis of his films and performances distinguishes three different but interrelated modalities of the aberrant aesthetic. The first modality, developed in the first chapter, is related to sex and reproduction through what I define as the aberrant- sex. The second modality is related to the body and his deformations with what I define as the aesthetic of the grotesque. Finally, the third and last modality, represents the mind. It is associated with the preoccupation of the artist for neurosciences and Buddhism and his obsession with the question of control. Then, the third modality designates what I call an aberrant cosmo-technic. The corpus is constituted of the five following artworks: Uterus Man (2013), Delusional Mandala (2015), Electromagnetic Brainology (2017), Electromagnetic Brainology Brain Control Messenger (2018), and Delusional World (2020)
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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