1,721,316 research outputs found
Greg Peters, Peter of Damascus. Byzantine Monk and Spiritual Theologian (Studies and Texts 175), 2011
No full textKontouma-Conticello Vassa. Greg Peters, Peter of Damascus. Byzantine Monk and Spiritual Theologian (Studies and Texts 175), 2011. In: Revue des études byzantines, tome 70, 2012. pp. 310-312
Book review:΄ Greg, PETERS, Peter of Damascus. Byzantine Monk and Spiritual Theologian (Toronto: Pontifical Institute of Mediaeval Studies, Studies and Texts 175, 2011)
Full text linkΒιβλιοκρισία:Greg, PETERS, Peter of Damascus. Byzantine Monk and Spiritual Theologian (Toronto: Pontifical Institute of Mediaeval Studies, Studies and Texts 175, 2011), 182 p. + Appendices and Bibliography.Βιβλιοκρισία:Greg, PETERS, Peter of Damascus. Byzantine Monk and Spiritual Theologian (Toronto: Pontifical Institute of Mediaeval Studies, Studies and Texts 175, 2011), 182 p. + Appendices and Bibliography
Crafting Baroque Sound:How the Making of Organ Pipes Matters Artistically
No full textThis chapter shows how the making of pipes that sound as good as their historical examples involved learning from historical treatises, practising the casting of organ metal in historical ways, and voicing newly made organ pipes in such a way that their sound character approximates that of eighteenth-century pipes. It aims to follow Munetaka Yokota, a specialist in historically informed organ building, and the workers at Hermann Eule Orgelbau in Bautzen, Germany, in their attempts to craft the sound of Hildebrandt’s pipes. The chapter focuses on the problem of judging the quality of organ pipes and their sounds. It looks at the role of materials such as alloys, wood, and cloth, as well as the use of machines and tools in manipulating these materials. The academic study of musical practices has become increasingly interdisciplinary. Musical practices and their technologies have become a research subject in science and technology studies as well as in the related field of sound studies.</p
On becoming a parcel:Artistic interventions as ways of knowing mobile worlds
No full textThis chapter reflects on the novel ways of knowing that artistic practices have to offer to mobilities studies. Building on the work of Bruno Latour (‘matters of concern’) and Hans-Jörg Rheinberger (‘experimental systems’), some of the epistemological questions that are related to artistic interventions as ways of knowing mobile worlds are explored through the analysis of two cases from artistic practice. The first focuses on a sound artwork by the Italian artist and researcher Daniela de Paulis who has extensively worked on mobilities in her artistic practice. In the project Night Mail, inspired by the eponymous 1936 British documentary showing how mail is transported from London to Glasgow by night train, she made a contemporary sonic documentation of a parcel traveling between these cities. The entire journey was recorded with an MP3 player inside the package. The second recounts the site-specific theater project Cargo Sophia-X (2006) of the German theater group Rimini Protokoll. They adapted a freight truck so that an audience could be seated in its cargo hold. While the truck drivers followed their regular route, the audience looked at actual highways and haulage sites through a large window on the side of the truck. Framing these exemplary cases as mobile research helps to investigate the systemic gestures of transportation and mobilities that stretch out from urban fabrics to connect them over large distances. By analyzing how artists stage the movements of a parcel and not a person, a qualitative difference is articulated between Flaneuring and inhabiting a system we normally do not know from the inside
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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