1,721,021 research outputs found
Galilée, homme de cour : Sur un ouvrage de Mario Biagioli/Galileo, courtier : On a book by Mario Biagioli
No full textClavelin Maurice. Galilée, homme de cour : Sur un ouvrage de Mario Biagioli/Galileo, courtier : On a book by Mario Biagioli. In: Revue d'histoire des sciences, tome 51, n°1, 1998. pp. 115-126
Watch out for cheats in citation game
Full text linkThe focus on impact of published research has created new opportunities for misconduct and fraudsters, says Mario Biagioli
Review of Mario Biagioli and Jessica Riskin (eds.), Nature Engaged. Science in Practice from the Renaissance to the Present
No full textReview of Mario Biagioli and Jessica Riskin (eds.), Nature Engaged. Science in Practice from the Renaissance to the Presen
La crisi finanziaria globale e i progetti di riforma dell'architettura finanziaria internazionale
No full text
The web of knowing, doing, and patenting. William Thomson’s apparatus room and the history of electricity
No full textThis is a case study in the history of electricity, based on William Thomson and his “apparatus room” at the University of Glasgow. The room was packed with electric paraphernalia that Thomson had set up as a newly appointed professor of natural philosophy after 1846, when he was barely 22. From about 1857, the facility was known as “the laboratory,” and Thomson and later historians regarded it as the first such teaching facility in the history of physics.
During those same years, as is well-known, Thomson developed a
theory of electric and magnetic phenomena to which a younger contemporary, James Clerk Maxwell, declared he owed most when introducing his own new approach to the science of electricity and magnetism.As is also wellknown, by the end of 1856 Thomson was one of the directors of the Atlantic Telegraph Company, which laid the first telegraph cables between Ireland and Newfoundland. By 1858, Thomson held a patent for telegraphy, which gave him an important position in the field for decades. Thus, in the dozen
years following 1846, Thomson with his apparatus room showed that it was possible to move from the kind of “physical mathematics” in which Thomson himself had been trained as a student in Cambridge, to experimental physics and teaching, to industrial consultancy and patenting, and back again.
The case is used to highlight the web of knowing, doing, and patenting in which the science of electricity was woven half a century after the introduction of the voltaic battery, during the slow dawn of the age of electricity
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
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