1,721,005 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
Performative body: relationships with wearable objects
No full textThis research in visual poetics addresses the experiments carried out in Pelotas-RS, Brazil, during and after the pandemic, in which my body performs as an agent of performative actions in search of potential encounters between bodies and objects around the house, initially, objects related to personal consumption and, later, used in assemblages that emerge from the notion of corporal packaging, a concept which lead me through the first stage of my creative process in this art research, developing performances and photoperformances, in actions that seek to: incorporate my body with other bodies, through wearable objects. These are constructed from reused and repurposed materials like knitwear and second-hand clothes, which become the means by which I can enhance tactile interactions and possible encounters, tensioning limits between my body, other bodies, objects and the spaces around me. The
wearable object is a second skin that attempts to operate a connection [or link], a means of investigating tactile contact, performative interactions between the bodies-wearable objects-and-spatial surroundings. Procedures with “sleeve gestures” emerge, embraces, acts of manual drawing on the street. These actions seem to incorporate the surroundings into the body or test the limits of contact between my body and other bodies. Although these may be objects or subjects (people), there is always a form of contact investigated through an embrace or gestures of entering sleeves of the stretchable knit material of a wearable object, as in Roupagem, 2019, a production that signals later performative actions, like a wearable object that I display in the corner, framing the potential encounter with other bodies and with
their architectural surroundings, as in Elo (Link) de 2022. “Sleeve gestures” mark a possible encounter between bodies, establishing links with people and objects, in reciprocal performative relationships, in spaces where the body is between walls, spaces of possible contact, almost wearable, demarcated by limits, walls or by shadows casted by walls outdoors (wall as shadow is more penetrable by the action of my body). The desire for a tactile encounter finds limits: my performative body triggers the desire to incorporate itself into other wearable bodies. In the text, I discuss referential artists such as Lygia Clark and her proposal O Eu e o Tu, and performative actions in Hélio Oiticica, Bruce Nauman, as well as Hundertwasser's concept of five skins, as well as the clothes/latex multiples of the Brazilian artist Helena Kanaan. I address issues of performance and photography in Maria Beatriz de Medeiros, in the French philosopher Maurice Merleau-Ponty, in the Brazilian critic and poet Ferreira Gullar and the poetic quality of a corner in French philosopher Gaston BachelardSem bolsaEsta pesquisa em poéticas visuais aborda os experimentos realizados em Pelotas-RS, Brasil, durante e depois da pandemia, partindo do meu corpo como agente de ações performativas na procura de encontros possíveis entre meu corpo e os objetos encontrados no entorno da casa, inicialmente, objetos de consumo e utilitários e, posteriormente, assemblages que partem da
noção de embalagem corpórea, e que fazem parte do processo que me levou a desenvolver ações e gestos corporais nesta pesquisa, por meio da performance e da fotoperformance, em ações que buscam: incorporar meu corpo a outros corpos, por meio de objetos vestíveis. Esses são construídos a partir de malhas e roupas de segunda mão, e se tornam o meio pelo
qual posso potencializar interações táteis e encontros possíveis, tensionando limites entre meu corpo, outros corpos e os espaços arquitetônicos ao meu redor. O objeto vestível é uma segunda pele, ou pele de segunda mão, que tenta operar uma junção, um elo, ao investigar relações não habituais de contato, interações performativas entre corpo-objeto vestível. Emergem procedimentos com “gestos-mangas”, movimentos entre corpo e objeto vestível, atos de desenhar na rua, os quais, em retrospecto, parece incorporar o entorno ao corpo ou testar os limites de contato entre meu corpo e outros corpos, sejam esses objetos ou sujeitos, sempre potencializando o abraço com mangas, em experimentos com meu corpo, que adentra em mangas de roupas de malha, em Roupagem de 2019, produção que sinaliza ações performativas posteriores, como um objeto vestível que exponho no canto entre duas paredes como um “quadro”, uma sugestão do potencial de um encontro com outros corpos e com o entorno arquitetônico, na construção objetual chamada Elo de 2022. O “gesto-manga” marca um encontro possível entre corpos, potencializando a possibilidade de instaurar elos com as pessoas e os objetos, em relações performativas recíprocas, bem como espaços onde o corpo se encontra entre paredes, espaços de contato possíveis, quase vestíveis, demarcados pelos
limites, muros ou por sua sombra projetada mais penetrável pela ação do meu corpo. O desejo do encontro tátil e perceptual encontra limites: meu corpo performativo aciona o desejo de incorporar-se aos outros corpos vestíveis. No texto, discuto artistas referenciais como Lygia Clark e sua proposta O Eu e o Tu, e ações performativas na produção de Hélio Oiticica, Bruce Nauman, bem como o conceito das cinco peles de Hundertwasser e as roupas/múltiplos de látex da artista gaúcha Helena Kanaan. Abordo questões de performance e da fotografia em Maria Beatriz de Medeiros, no filósofo francês Maurice Merleau-Ponty, no crítico e poeta brasileiro Ferreira Gullar e questões do entorno no filósofo francês Gaston Bachelar
Performative body: relationships with wearable objects
No full textThis research in visual poetics addresses the experiments carried out in Pelotas-RS, Brazil, during and after the pandemic, in which my body performs as an agent of performative actions in search of potential encounters between bodies and objects around the house, initially, objects related to personal consumption and, later, used in assemblages that emerge from the notion of corporal packaging, a concept which lead me through the first stage of my creative process in this art research, developing performances and photoperformances, in actions that seek to: incorporate my body with other bodies, through wearable objects. These are constructed from reused and repurposed materials like knitwear and second-hand clothes, which become the means by which I can enhance tactile interactions and possible encounters, tensioning limits between my body, other bodies, objects and the spaces around me. The
wearable object is a second skin that attempts to operate a connection [or link], a means of investigating tactile contact, performative interactions between the bodies-wearable objects-and-spatial surroundings. Procedures with “sleeve gestures” emerge, embraces, acts of manual drawing on the street. These actions seem to incorporate the surroundings into the body or test the limits of contact between my body and other bodies. Although these may be objects or subjects (people), there is always a form of contact investigated through an embrace or gestures of entering sleeves of the stretchable knit material of a wearable object, as in Roupagem, 2019, a production that signals later performative actions, like a wearable object that I display in the corner, framing the potential encounter with other bodies and with
their architectural surroundings, as in Elo (Link) de 2022. “Sleeve gestures” mark a possible encounter between bodies, establishing links with people and objects, in reciprocal performative relationships, in spaces where the body is between walls, spaces of possible contact, almost wearable, demarcated by limits, walls or by shadows casted by walls outdoors (wall as shadow is more penetrable by the action of my body). The desire for a tactile encounter finds limits: my performative body triggers the desire to incorporate itself into other wearable bodies. In the text, I discuss referential artists such as Lygia Clark and her proposal O Eu e o Tu, and performative actions in Hélio Oiticica, Bruce Nauman, as well as Hundertwasser's concept of five skins, as well as the clothes/latex multiples of the Brazilian artist Helena Kanaan. I address issues of performance and photography in Maria Beatriz de Medeiros, in the French philosopher Maurice Merleau-Ponty, in the Brazilian critic and poet Ferreira Gullar and the poetic quality of a corner in French philosopher Gaston BachelardSem bolsaEsta pesquisa em poéticas visuais aborda os experimentos realizados em Pelotas-RS, Brasil, durante e depois da pandemia, partindo do meu corpo como agente de ações performativas na procura de encontros possíveis entre meu corpo e os objetos encontrados no entorno da casa, inicialmente, objetos de consumo e utilitários e, posteriormente, assemblages que partem da
noção de embalagem corpórea, e que fazem parte do processo que me levou a desenvolver ações e gestos corporais nesta pesquisa, por meio da performance e da fotoperformance, em ações que buscam: incorporar meu corpo a outros corpos, por meio de objetos vestíveis. Esses são construídos a partir de malhas e roupas de segunda mão, e se tornam o meio pelo
qual posso potencializar interações táteis e encontros possíveis, tensionando limites entre meu corpo, outros corpos e os espaços arquitetônicos ao meu redor. O objeto vestível é uma segunda pele, ou pele de segunda mão, que tenta operar uma junção, um elo, ao investigar relações não habituais de contato, interações performativas entre corpo-objeto vestível. Emergem procedimentos com “gestos-mangas”, movimentos entre corpo e objeto vestível, atos de desenhar na rua, os quais, em retrospecto, parece incorporar o entorno ao corpo ou testar os limites de contato entre meu corpo e outros corpos, sejam esses objetos ou sujeitos, sempre potencializando o abraço com mangas, em experimentos com meu corpo, que adentra em mangas de roupas de malha, em Roupagem de 2019, produção que sinaliza ações performativas posteriores, como um objeto vestível que exponho no canto entre duas paredes como um “quadro”, uma sugestão do potencial de um encontro com outros corpos e com o entorno arquitetônico, na construção objetual chamada Elo de 2022. O “gesto-manga” marca um encontro possível entre corpos, potencializando a possibilidade de instaurar elos com as pessoas e os objetos, em relações performativas recíprocas, bem como espaços onde o corpo se encontra entre paredes, espaços de contato possíveis, quase vestíveis, demarcados pelos
limites, muros ou por sua sombra projetada mais penetrável pela ação do meu corpo. O desejo do encontro tátil e perceptual encontra limites: meu corpo performativo aciona o desejo de incorporar-se aos outros corpos vestíveis. No texto, discuto artistas referenciais como Lygia Clark e sua proposta O Eu e o Tu, e ações performativas na produção de Hélio Oiticica, Bruce Nauman, bem como o conceito das cinco peles de Hundertwasser e as roupas/múltiplos de látex da artista gaúcha Helena Kanaan. Abordo questões de performance e da fotografia em Maria Beatriz de Medeiros, no filósofo francês Maurice Merleau-Ponty, no crítico e poeta brasileiro Ferreira Gullar e questões do entorno no filósofo francês Gaston Bachelar
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
A SALA: Exposições 2014 – do Cubo Branco ao Cubo Mágico
No full text[RESENHA] PELLEGRIN, José Luiz; GONÇALVES, Eduarda (Duda); MONSELL, Alice; NUNES, Guilherme da Rosa (GUINR) (orgs). A SALA: Exposições 2014. Projeto de Extensão Ações Educativas na Galeria de Arte A SALA do Centro de Artes da UFPel. Pelotas: Ed. UFPel, 2015.126p. ISBN: 978-85-517-0009-9. (impresso)Palavras-chave: A SALA: Exposições 2014; projeto educativo; exposição de arte.The SALA: Exhibitions 2014 – from the White Cube to the Rubik’s CubeAbstract: [REVIEW] PELLEGRIN, José Luiz; GONÇALVES, Eduarda (Duda); MONSELL, Alice; NUNES, Guilherme da Rosa (GUINR) (orgs). A SALA: Exhibitions 2014. Extension Project Educational Actions in the Art Gallery The SALA of the Centro de Artes of the Federal University of Pelotas/UFPel. Pelotas, Brazil: Ed. UFPel, 2015.126p. ISBN: 978-85-517-0009-9. (softcover)Keywords: The SALA: Exhibitions 2014; educational project; art exhibition.
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
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