1,720,971 research outputs found
Decorazione strutturale e struttura decorativa: il rinnovato valore della tecnica del merletto.
No full textNella storia del design e dell’architettura il tema della decorazione ha subito alterni periodi di fortuna, suscitando talvolta sentimenti di fascinazione o repulsione. Tuttavia, la decorazione definibile funzionale, insita nel materiale o legata alla capacità di studio del dettaglio del progettista, non ha mai smesso di appartenere alla poetica dei progettisti e del progetto, al punto che lo stesso Adolf Loos utilizzava e apprezzava la naturale decorazione del materiale, così come Mies van der Rohe. Nell’ambito dei tessuti questa è caratteristica propria del materiale, essendo il tessuto definito dalla sequenza d’intrecci, di trama e ordito, capaci di fungere al tempo stesso da struttura e decorazione. Caso esemplare è quello del merletto tradizionale canturino che, attraverso la successione di semplici sequenze codificate alternate a spazi vuoti, da vita ad una serie di motivi o pattern decorativi strutturali, indissolubilmente legati all’identità del tessuto. A partire dal Novecento e ancora oggi, queste lavorazioni tradizionali nate nella seconda metà del XVII secolo, grazie alle prerogative di autoportanza, robustezza e permeabilità, suscitano grande interesse e vengono applicate, oltre che nella moda, in vari campi del design e dell’architettura.
Dopo la Prima guerra mondiale, grazie al rilancio delle attività artigianali e industriali operato anche da esposizioni d’arte come la Triennale di Milano, le tecniche tradizionali attirano l’attenzione di numerosi architetti, tra i quali Gio Ponti. Le ricerche degli anni ’30 operano un’astrazione e geometrizzazione dei disegni, senza introdurre significative modifiche materiche, mentre, nel periodo compreso tra la fine degli anni ’50 e ’70, si assiste sia a varie innovazioni materiche, anche grazie all’introduzione della plastica, che a reinterpretazioni personali della tecnica pratica tradizionale, come quelle di Carla Accardi o Franca Sonnino. Dopo un periodo di indifferenza generale, gli anni ’90 vedono il proliferare di iniziative per la salvaguardia della tradizione del merletto, come la Biennale Internazionale del Merletto di Cantù e Merletti e Design. Collaborazioni tra artisti, architetti, designer e merlettaie hanno come scopo la nascita di progetti innovativi capaci di valorizzare la sapienza artigianale inserendola nelle ricerche del design contemporaneo. Le iniziative culminano con la candidatura del merletto per l’inserimento nella lista dei beni del Patrimonio Culturale Immateriale dell’UNESCO, ma è negli ultimi dieci anni che si assiste a una vera ripresa, trainata dal settore moda, delle tecniche tradizionali e dell’estetica del merletto combinata alle nuove tecnologie. Abiti capaci di adattarsi al corpo grazie alla deformabilità del materiale; lampade che sfruttano tecnologie di stampa 3D per reinterpretare intrecci tipici dei merletti e dell’oreficeria tradizionale; macro-installazioni ed elementi strutturali che recuperano la modularità geometrica e gli schemi preordinati degli intrecci per aumentare la performatività delle strutture. Tutti esempi sintomo di una ripresa del valore dei tessuti e delle tecniche tradizionali volta alla rielaborazione di nuovi linguaggi a differenti scale. Partendo dallo studio del merletto e delle peculiarità costruttive, il capitolo vuole evidenziare tendenze e punti di incontro attraverso l’indagine di una selezione di casi studio, appartenenti al settore del design e dell’architettura, che riprendono questa tecnica anche con l’ausilio di nuovi metodi e tecnologie.In design and architectural history, the decoration theme has undergone alternating periods of prosperity, evoking feelings of fascination or repulsion at times. Nevertheless, decoration definable as functional, inherent in the material or linked to the designer’s ability to study detail, has never ceased to belong to the poetics of designers and design. Indeed, Adolf Loos used and appreciated the natural decoration of materials, as did Mies van der Rohe.
In the field of textiles, decoration is an inherent characteristic of the material, since the fabric is defined by the sequence of weaves, warp and weft, capable of serving as both structure and decoration.
An exemplary case is the traditional Cantù lace, which, through the succession of simple codified sequences alternating with empty spaces, gives rise to a series of structural decorative motifs or patterns, inextricably linked to the fabric identity. Beginning in the twentieth century and still today, these traditional workings born in the second half of the seventeenth century, thanks to the prerogatives of self-supporting, robustness and permeability, arouse great interest and are applied not only in fashion but also in various fields of design and architecture.
After World War I, thanks to the revival of craft and industrial activities operated by art exhibitions such as the Triennale di Milano, traditional techniques attracted the attention of many architects, including Gio Ponti. The researches of the 1930s operate an abstraction and geometrisation of drawings, without introducing significant material changes. At the same time, in the period between the late 1950s and 1970s, there were both various material innovations, also due to the introduction of plastic, and personal reinterpretations of traditional practical techniques, such as those of Carla Accardi or Franca Sonnino. After a period of general indifference, the 1990s saw the proliferation of initiatives to safeguard the lace tradition, such as the Biennale Internazionale del Merletto di Cantù and Merletti e Design. Collaborations between artists, architects, designers and lace makers aim to create innovative projects that enhance craftsmanship by inserting it into contemporary design research. The initiatives culminate with the candidacy of lace for inclusion in the UNESCO list of Intangible Cultural Heritage. Still, a real revival, driven by the fashion industry, of traditional techniques and the aesthetics of lace combined with new technologies has been witnessed in the last decade. Clothes capable of adapting to the body thanks to the deformability of the material; lamps that take advantage of 3D printing technologies to reinterpret weaves typical of traditional lace and goldsmithing; macro-installations and structural elements that recover the geometric modularity and preordained patterns of weaves to increase the performativity of the structures. All examples symptomatic of a revival of the value of traditional textiles and techniques aimed at reworking new languages at different scales.
Starting from the study of lace and its constructive peculiarities, the paper aims to highlight trends and meeting points through the investigation of a selection of case studies, belonging to the field of design and architecture, which also take up this technique with the help of new methods and technologies
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
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
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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