1,721,354 research outputs found
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
Analytical studies of spatial and temporal confinement in Stimulated Raman Scattering
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Deconstruction of the boundary in Michael Craig-Martin’s works
No full text본 논문은 마이클 크레이그-마틴(Michael Craig-Martin, 1941-)의 작업이 전통적 미술의 경계를 무너뜨리고 장르를 넘나들며 일상 속에서 관람자들과 소통하려 했던 해체적 작업이었음을 규명하는 연구이다. 서구 철학의 이분법의 논리와 절대적 가치를 추구하는 형식주의 모더니즘 미술에 대한 반동에서 시작한 크레이그-마틴의 작업은 50여 년이 넘는 기간 동안 다양한 매체와 방식으로 이루어져왔다. 하지만 크레이그-마틴이 영국 yBa(young British artists)의 성공적 조명에 가려 그들을 키워낸 교수로 인식되거나, 그의 대표적 작품들의 원색적이고 단순한 이미지들로 인해 영국 팝아트의 대표자, 혹은 작품 전반의 개념적 특성들로 인해 영국 개념미술의 선구자로 분류되는 현상은 지금까지 크레이그-마틴의 작업세계를 깊이 있게 연구하지 못하게 했다. 따라서 본고에서는 크레이그-마틴의 작업을 특정 경향에 치우쳐 구분하지 않고 총체적으로 접근하여 그의 작업을 그 동안의 미술에 씌워져 있던 경계들을 해체하고 열린 시각으로 소통하게 하는 탈경계적 미술로 정의하고자 한다.
크레이그-마틴이 본격적으로 작업을 시작하기 전의 1960년대 서구 미술계는 예술을 일상과 분리해 절대적이고 순수한 영역으로 구분 짓는 모더니즘적 사고가 팽배했다. 이러한 미술의 배타적 태도는 관람자들을 작품에서 멀어지게 하고 그들의 개입을 최소화했다. 이에 크레이그-마틴은 해체적 속성의 작업을 통해 관람자들의 적극적인 개입과 능동적 해석을 불러일으키고 일상의 영역을 예술화해 그들과 직접 소통하고자 했다. 특히 예술과 예술이 아닌 것 사이의 경계 지점에 관심을 갖은 그는 일상적 소재를 미술로 끌어들인 팝아트, 관객과 공간을 공유한 미니멀리즘 그리고 후기구조주의자들의 열린 사상을 받아들여 자신의 개인적 경험들과 함께 미술의 접경 지역에서 새로운 의미들을 창출해냈다.
크레이그-마틴의 작업에서 보여지는 해체적 성격들 중에서 본 연구는 크게 네 가지 유형의 작업 지점에 주목하였다. 첫 째는 작품과 관람자 사이의 간극을 제거한 것으로, 관람자에 의해 작품의 형태가 변형되는 상자 시리즈와 관람자의 주체적 해석으로 인해 작품의 의미가 새롭게 창조되는 레디메이드 오브제 작업으로 작가 개념의 확장을 보여주었다. 두 번째는 회화와 조각으로 분류되는 전통적 미술 장르의 해체적 작업으로, 일상 오브제를 그린 벽 드로잉 작업이 공간 속에 놓여진 드로잉 조각으로 확대되며 차원의 공존을 통해 미술의 영역을 확장했다. 다음으로는 일상공간과 예술공간의 경계를 제거한 작업으로, 공공 장소에서 기업들과의 협업으로 이루어진 프로젝트를 통해 일상의 공간을 예술로 변화시켰다. 마지막으로, 텍스트와 이미지를 결합해 만든 문자회화 작업을 통해 크레이그-마틴은 이미 알려진 사실과 존재하는 의미들을 해체하며 읽기의 무한한 가능성을 열어놓았다.
전쟁 중의 불안했던 사회상과 개인적 경험들, 그리고 당대의 해체적 속성의 미술과 사상가들의 영향은 크레이그-마틴에게 절대적 진실을 부정하게 했다. 이로써 미술과 사물의 본질적 속성에 전착한 크레이그-마틴은 작업에서 미술의 기초 요소들과 일상의 오브제들을 이용해 그 동안 경계 지워졌던 미술의 영역들을 해체했다. 결국 미술을 통해 사물을 이해하고 세상을 바라보는 관점을 넓힌 크레이그-마틴은 작가가 의도했던 것처럼 하나의 양식으로 분류되기 보다 미술의 저변을 넓힌 개척자로 평가될 수 있을 것이다.;The purpose of this thesis is an inquiry into the deconstructive artworks of Michael Craig-Martin (1941- ), which have broken the boundaries of traditional art, spanning genres and attempting to communicate with spectators in everyday life. Michael Craig-Martin’s works began as a reaction against formalism modern art, which pursued the dichotomous logic and absolute value of Western philosophy. It continued for more than 50 years through various media and ways. However, deeper inquiry into Craig-Martin’s world has been hindered by specific focus on him as a professor, who taught successful young British artists (yBa); a pop artist, due to the vivid and simple imagery of his representative works; or a pioneer of conceptual art, due to conceptual characteristics of his artworks. Therefore, this paper aims to define Craig-Martin’s artworks from the perspective of trans-boundary art—which deconstructs artistic boundaries and enables open-minded communication—not by focusing on specific tendencies in his works, but by approaching them in general.
A novel thinking, which separated art from daily life and classified it as an absolute and pure area, prevailed in the Western art world in the 1960s, before Craig-Martin began focusing on his artworks. This exclusive attitude toward art estranged people from it, and minimized their intervention. Consequently, Craig-Martin tried to communicate directly with people by encouraging active participation and interpretation of spectators, and by transforming daily life areas into art. In particular, due to his interest in the boundaries between art and non-art, he created new meaning in artistic boundaries by adopting into his personal experience pop art, which brought everyday objects into art; minimalism, a sharing of a space with spectators; and the open-minded thought of post-structuralism.
This study focuses on the following four deconstructive characteristics shown in Craig-Martin’s artworks. First is elimination of distance between artworks and spectators; an expansion of the artist's concept is shown in a box series, the shape of which can be changed by spectators, and a ready-made object work, the meaning of which is created organically through the interpretation of spectators. Second is deconstruction of traditional art classified into painting and sculpture; wall drawing of an everyday object expands into a drawing sculpture, which is then placed in a space to demonstrate expansion of art areas through the coexistence of dimensions. Third is elimination of boundaries between an ordinary space and an art space; Craig-Martin transformed an ordinary public space into an art space through a collaborative project with companies. Last is character painting, a combination of text and images; Craig-Martin deconstructed existing, well-known facts and meanings, and opened up infinite possibilities.
An unstable wartime society, personal experience, and the influence of the deconstructivist art and thinkers of the time made Craig-Martin deny the existence of an absolute truth. He obsessed the intrinsic attributes of art and objects, and deconstructed artistic areas, breaking down boundaries by using fundamental elements of both art and daily life. Ultimately, Craig-Martin broadened an overall understanding of objects through art and worldview; he can thus be identified as a pioneer who expanded the basis of art itself, as he intended, rather than simply an artistic style.Ⅰ. 서 론 1
Ⅱ. 크레이그-마틴 작업의 형성 배경 6
A. 1960년대 미국 미술계의 상황 6
B. 크레이그-마틴의 조형적 태도의 배경 19
Ⅲ. 크레이그-마틴의 작업 방식으로 본 탈경계적 특성 25
A. 오브제 작업을 통한 작가개념의 확장 25
B. 드로잉과 조각에 나타난 차원의 공존 37
C. 공공 작업을 통한 일상공간의 예술화 50
D. 문자회화에 나타난 가독성의 해체 58
Ⅳ. 결 론 64
참고문헌 67
도판목록 73
도 판 78
Abstract 9
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
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