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Memories in Stone: Fragments that Conceal Deeper Stories
No full textZa svoj završni rad izradio sam fotografsku knjigu „Uspomene u kamenju: Fragmenti koji kriju
dublje priče“. Fotografska knjiga savršen je medij u kojemu sam mogao pokazati svoju
kolekciju kamenčića, priče i emocije koje su skrivene iza svakog kamenčića i simboliku
kamenčića u svojemu životu. Knjigu sam podijelio na dva dijela. U prvome dijelu knjige nalaze
se priče u kojima sam opisao kako sam pronašao ili dobio kamenčiće i povezana je s važnim
događajima u mojem životu, kao i s ljudima koji su mi dragi. Svaka priča smještena je u drugo
vremensko razdoblje, ukupno priče obuhvaćaju razdoblje od nekoliko godina u kojima sam
sakupljao kamenčiće. Svaki kamenčić je poseban, što se prikazuje u fotografskoj knjizi, i svaki
je imao važan utjecaj na mene. Prvi dio obuhvaća fotografije kamenčića i popratni tekst.
Kamenčići za mene nisu obični, svakodnevni predmeti, oni su svjedoci onoga što je važno u
mojemu životu, što sam htio prenijeti čitateljima svoje fotografske knjige. U drugome dijelu
knjige prikazujem sve preostale kamenčiće koji su dio moje zbirke. S obzirom na to da imam
mnogo kamenčića u zbirci i da mi nedostaju informacije o načinu prikupljanja velikog dijela
kamenčića, odlučio sam ih prikazati u nasumičnim kompozicijama. Svaka kompozicija s jedne
strane prikazuje grupu kamenčića u vizualno zanimljivom i skladnom rasporedu, a s druge
strane prikazuje pojedinačne kamenčiće koji čine tu kompoziciju. Igra kamenčićima
napravljena je tako da čitatelja zadrži zainteresiranim. Ako se na umjetnost gleda kao na vanjski
izraz čovjekove unutrašnje potrebe, jasno je da je ova knjiga nastala iz moje unutrašnje potrebe
da prikažem koliko su kamenčići važni za mene. Ova fotografska knjiga dokaz je da je
inspiracija svugdje oko nas. Inspiraciju je moguće pronaći u malim, naizgled beznačajnim
dijelovima svakodnevice; onim dijelovima svakodnevnog života kojima inače ne pridajemo
previše pažnje.For my final work, I created a photographic book "Memories in Stones: Fragments that hide
deeper stories". The photo book is the perfect medium in which I could show my collection of
pebbles, the stories and emotions that are hidden behind each pebble and the symbolism of the
pebbles in my life. I divided the book into two parts. In the first part of the book, there are
stories in which I described how I found or received the stones and it is connected with
important events in my life, as well as with people who are dear to me. Each story is set in a
different time period, in total the stories cover a period of several years in which I collected
pebbles. Each pebble is special, which is shown in the photo book, and each one had an
important influence on me. The first part includes photos of stones and accompanying text.
Stones are not ordinary, everyday objects for me, they are witnesses of what is important in my
life, what I wanted to convey to the readers of my photography book. In the second part of the
book, I show all the remaining stones that are part of my collection. Given that I have many
stones in my collection and that I lack information on how to collect a large part of the stones,
I decided to display them in random compositions. Each composition on one side shows a
group of stones in a visually interesting and harmonious arrangement, and on the other side
shows the individual stones that make up that composition. The pebble game is designed to
keep the reader interested. If art is seen as an external expression of a person's inner need, it is
clear that this book was born out of my inner need to show how important pebbles are to me.
This photo book is proof that inspiration is all around us. Inspiration can be found in small,
seemingly insignificant parts of everyday life; those parts of everyday life that we normally
don't pay too much attention to
Memories in Stone: Fragments that Conceal Deeper Stories
No full textZa svoj završni rad izradio sam fotografsku knjigu „Uspomene u kamenju: Fragmenti koji kriju
dublje priče“. Fotografska knjiga savršen je medij u kojemu sam mogao pokazati svoju
kolekciju kamenčića, priče i emocije koje su skrivene iza svakog kamenčića i simboliku
kamenčića u svojemu životu. Knjigu sam podijelio na dva dijela. U prvome dijelu knjige nalaze
se priče u kojima sam opisao kako sam pronašao ili dobio kamenčiće i povezana je s važnim
događajima u mojem životu, kao i s ljudima koji su mi dragi. Svaka priča smještena je u drugo
vremensko razdoblje, ukupno priče obuhvaćaju razdoblje od nekoliko godina u kojima sam
sakupljao kamenčiće. Svaki kamenčić je poseban, što se prikazuje u fotografskoj knjizi, i svaki
je imao važan utjecaj na mene. Prvi dio obuhvaća fotografije kamenčića i popratni tekst.
Kamenčići za mene nisu obični, svakodnevni predmeti, oni su svjedoci onoga što je važno u
mojemu životu, što sam htio prenijeti čitateljima svoje fotografske knjige. U drugome dijelu
knjige prikazujem sve preostale kamenčiće koji su dio moje zbirke. S obzirom na to da imam
mnogo kamenčića u zbirci i da mi nedostaju informacije o načinu prikupljanja velikog dijela
kamenčića, odlučio sam ih prikazati u nasumičnim kompozicijama. Svaka kompozicija s jedne
strane prikazuje grupu kamenčića u vizualno zanimljivom i skladnom rasporedu, a s druge
strane prikazuje pojedinačne kamenčiće koji čine tu kompoziciju. Igra kamenčićima
napravljena je tako da čitatelja zadrži zainteresiranim. Ako se na umjetnost gleda kao na vanjski
izraz čovjekove unutrašnje potrebe, jasno je da je ova knjiga nastala iz moje unutrašnje potrebe
da prikažem koliko su kamenčići važni za mene. Ova fotografska knjiga dokaz je da je
inspiracija svugdje oko nas. Inspiraciju je moguće pronaći u malim, naizgled beznačajnim
dijelovima svakodnevice; onim dijelovima svakodnevnog života kojima inače ne pridajemo
previše pažnje.For my final work, I created a photographic book "Memories in Stones: Fragments that hide
deeper stories". The photo book is the perfect medium in which I could show my collection of
pebbles, the stories and emotions that are hidden behind each pebble and the symbolism of the
pebbles in my life. I divided the book into two parts. In the first part of the book, there are
stories in which I described how I found or received the stones and it is connected with
important events in my life, as well as with people who are dear to me. Each story is set in a
different time period, in total the stories cover a period of several years in which I collected
pebbles. Each pebble is special, which is shown in the photo book, and each one had an
important influence on me. The first part includes photos of stones and accompanying text.
Stones are not ordinary, everyday objects for me, they are witnesses of what is important in my
life, what I wanted to convey to the readers of my photography book. In the second part of the
book, I show all the remaining stones that are part of my collection. Given that I have many
stones in my collection and that I lack information on how to collect a large part of the stones,
I decided to display them in random compositions. Each composition on one side shows a
group of stones in a visually interesting and harmonious arrangement, and on the other side
shows the individual stones that make up that composition. The pebble game is designed to
keep the reader interested. If art is seen as an external expression of a person's inner need, it is
clear that this book was born out of my inner need to show how important pebbles are to me.
This photo book is proof that inspiration is all around us. Inspiration can be found in small,
seemingly insignificant parts of everyday life; those parts of everyday life that we normally
don't pay too much attention to
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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