1,721,021 research outputs found
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
The Grantchester Pottery Paints the Stage
No full textA group exhibition curated by The Grantchester Pottery presenting their associate artists’ work together for the first time.
Founded in 2011, The Grantchester Pottery is a collaboration between artists Giles Round and Phil Root that takes the framework of a decorative arts studio, drawing historical precedent from Roger Fry’s Omega Workshops and Paolozzi/Henderson’s Hammer Prints Ltd. The Grantchester Pottery looks towards the specific history that surrounds the Cambridgeshire village as a historic meeting place for writers, poets, artists & philosophers, whilst at the same time using it as a basis for conceptual departure.
For this exhibition the art works are framed by an adaptable stage set designed by the collective in response to Cally Spooner’s enigmatic stage directions for a three act melodrama. The works are hung and placed across all three galleries to face the same vantage point, an impossible vista for an imagined theatre audience. Three large scale wall murals function as the backdrop to each unfolding scene. Throughout the exhibition, works by individual artists are attributed as such, while the collaboratively produced artworks that comprise the set are accredited to The Grantchester Pottery, eliminating any sense of hierarchy of individual artistic authorship within the group.
As a framework for artistic production The Grantchester Pottery operates as a conceptual structure in which artists and designers can contribute in any medium to a collective output as diverse as its collaborators – including utilitarian ceramics, painting, decorative household items, printed & woven textiles, wallpaper, furniture and hand painted murals. By choosing to work with art forms associated with decoration or use, the work questions the relationship between fine and decorative arts.
I included two works in this show:
From the Top to the Bottom of a Type Dump (Face no.5) 2014,
Digital Print on Silk
This dot, right here, this one. Tribute to R. Hooke, 2015
Microscope and last page of Primo Levi's story Carbon taken from a Penguin paperback edition of his book The Periodic Table
Letters, Materiality, Biblioclasm
Full text linkA talk focused on deconstruction as a technique for investigating and understanding the materiality of print.
Artists in Print is a day-long event celebrating all things print as part of DCA’s 20th Birthday festivities. Providing an opportunity for artists, academics, theoreticians and historians to consider the issues around print and contemporary art in Scotland, the day consists of a series of artists’ talks and chaired dialogues. Presentations by artists Claire Barclay, Jacqueline Butler, Tessa Lynch, Scott Myles, Helen de Main and Edwin Pickstone, will frame a number of themed conversations followed by a panel discussion. DCA Print studio has a twenty-year history of working with cutting-edge and traditional print technologies, and over the course of the day we will hear from artists with direct experience of working with the Print Studio, through DCA’s exhibition programme and Scotland more broadly. Focussing on the approach of artists with print, this is a rare opportunity to hear how practitioners think about using print processes in innovative and inventive ways, connecting to its social histories, collaborative processes and technological materiality.
Organised by Rachel Adams, AHRC doctoral researcher funded working with the University of Edinburgh and Dundee Contemporary Arts and possible with the kind support of DCA and University of Edinburgh Devolved Research Fun
Change as a Constant
No full textPaper given at the Annual Conference of The Association of European Printing Museums, The Relevance of Typographical Collections for Today’s Designers
Expanded abstract: This paper will begin with an introduction to the collection of printing equipment and reference materials housed within GSA’s Caseroom, alongside a brief account of the precedence of these materials. It will then go on to introduce the role of an Artist/Designer in Residence within such a facility and use selected collaborative projects with a wide variety of outcomes to chart the last ten years of activity. It will explore the concept of ‘contemporary design relevance’ when applied to the use of a collection of late 19th/early 20th century printing equipment. Specific projects will be used as case studies to draw out key themes. Projects such as the cover of Christian Bok’s Eunoia and design work for the pop band Franz Ferdinand raise the relevance of historical reference within graphic design with their allusions to the Oulipo and Blast magazine/The Vorticists, respectively. The use of specially commissioned printed matter in the making of large scale digital projections for the Museum of London or web based promotional materials for Warp Music provoke discussion on how and why letterpress can be used effectively for a digital output. Numerous posters made with nightclubs, bands and artists show the great attraction of hands-on making, D.I.Y. ethos and control of means of production, whilst also raising questions over the motivations behind design work digitally manipulated to emulate a printed aesthetic perceived as ‘traditional’. Work produced with Scott King, Duncan Campbell and Ciara Phillips will allow closer study of the motivations driving contemporary artists to use these now commercially redundant typographic printing techniques. This work also brings to the fore benefits that can be found in using letterpress printing as a collaborative process to produce new and original art and design. In this paper I will follow the journey I have undertaken as Designer in Residence over the past ten years discussing the experience of balancing historical understanding with contemporary typographic process and how this work fits into the wider context of current art and design practice.
RDF Funding was secured in order to deliver this paper at the AEPM conference
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