1,721,010 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
Panorama and propositions of stop motion animation
No full textThe main objective of this research is to establish the actual situation of the animation world with emphasis on animation technique known as stop motion. This survey is based on major feature films animated film produced in ten years covering the years between 1999 and 2008, then promote a discussion about this technique and the main visual characteristics present in films of the genre, in order to elect some quality indicators for this type of
animation that justify maintenance of use of this technique. For master image production, is shown a short movie animation, produced with the technique of stop motion, following the technical indicators in the survey and system stereoscopic presentation.O principal objetivo desta pesquisa é estabelecer o panorama atual da animação mundial com ênfase na técnica de animação conhecida como stop motion. Para isso, foi
realizado um levantamento dos principais filmes de animação produzidos entre 1999 e 2008, para em seguida, promover uma discussão a respeito da utilização desta técnica e das
principais características visuais presentes nos filmes do gênero, com a finalidade de eleger alguns indicativos de qualidade para este tipo de animação que justifiquem a manutenção do uso desta técnica. A título de produção imagética de mestrado, é apresentado um pequeno vídeo de animação, produzido com a técnica de stop motion, seguindo os indicativos técnicos apontados pela pesquisa e com sistema de apresentação estereoscópica
Graphical interfaces, social networking sites and enchantment: proposition for implementation of electronic game from Twitter
No full textPartindo da análise conceitual das Interfaces Gráficas Computacionais (GUI), tendo em vista as questões ligadas às visualidades e tomando por referência o arcabouço conceitual
encontrado na Poética, de Aristóteles, a presente pesquisa busca, inicialmente, identificar elementos que se conformam nessas interfaces e que favoreçam experiência prazerosa do
usuário, destacando como se pode estruturar um ambiente digital, em um sentido poético, em favor do encantamento. Em seu segundo momento, partindo da chamada Web
colaborativa, ou Web 2.0, a pesquisa verifica a presença de estruturas enriquecedoras da interação entre usuários, relacionando-as ao tema do encantamento, à estética do meio e ao conceito de jogo. Por fim, aplica a base teórica ora estudada ao site social Twitter, propondo o incremento da interação entre seus usuários pela instauração do jogo eletrônico Blood & Brains, baseado em sua interface gráfica, trabalho prático resultante dos temas discutidos no presente trabalho.Based on the conceptual analysis of Graphical User Interfaces (GUI), the issues respecting visualities and the conceptual framework presented in Aristotle s Poetics, this study aims
to identify the elements into these interfaces for the users benefit as much as their web experience may be considered to be a pleasurable one, highlighting at which point it is
possible to design a digital environment in a poetic sense, and in favor of enchantment. By considering the so-called Web 2.0, this study also assesses the Collaborative Web s
structures which enable and facilitate the interaction between users, and links up these structures with the theme of enchantment, with the aesthetics of the medium, and with the very concept of game. This study is ultimately an attempt to apply its theoretical framework to Twitter, and propose the enhancement of users interaction on this social networking site, by setting up the electronic game Blood & Brains, which is based on Twitter s graphical interface and may be considered as an outcome of all the themes
discussed herein
Videogames and interfaces: representation and experience
No full textThis work analyzes elements related to computer interface, especially in the videogame, which affect the experience that is characterized by the contact with its elements and the manipulation that takes place from the very conformation that the interface provides. It begins with an approximation to the definition of interface from historical and theoretical assumptions from different fields of knowledge, from computer science to art, on to a framework in line with the components that characterizes the interface as related to the videogames, namely the narrative graphics, the physical elements and the HUD (heads-up display). The text addresses, then, the sedimentation of the interface in society from concepts already settled, noting also how it builds on the experience with the graphical interface on the screen, mainly from resources that refer to the human visual apparatus in its peculiarities. Semiotics, then, approach the signs that are presented to the interpreter in syntactic, semantic and pragmatic terms, and also from the analysis of three titles belonging to three different generations of consoles: Pitfall!, from 1982, Sonic The Hedgehog, from 1991, and Mirror's Edge, from 2008. The last part binds more deeply the computer game to the game concept itself, connecting it to the experience in a pragmatic or, more specifically, pragmatist sense. Finally, Segura! is proposed as an experiment, aiming to implement some of the concepts discussed as well as extend the debate.Este trabalho observa elementos vinculados à interface computacional, sobretudo no âmbito do videogame, que incidem sobre a experiência que se caracteriza pelo embate com seus elementos e a manipulação que se realiza a partir do que a própria conformação da interface disponibiliza para tanto. Inicia-se com uma aproximação em relação à definição do conceito de interface a partir de pressupostos históricos e teóricos provenientes de diferentes áreas do conhecimento, da ciência da computação à arte, partindo para um enquadramento em consonância com os componentes que a caracterizam de maneira mais específica no âmbito do videogame, a saber os gráficos narrativos, os elementos físicos e o HUD (heads-up display). Em seguida aborda a sedimentação da interface na sociedade a partir de conceitos já assentados, observando também o modo como se constroi a experiência com a interface gráfica na tela, principalmente a partir de recursos que remetem ao aparato visual humano em suas peculiaridades. A semiótica cuida, então, dos signos conforme se apresentam ao intérprete, em termos sintáticos, semânticos e pragmáticos, e a partir da análise de três títulos balizadores pertencentes a três gerações distintas de consoles: Pitfall!, de 1982, Sonic The Hedgehog, de 1991, e Mirror's Edge, de 2008. A última parte vincula de maneira mais profunda o jogo computacional ao conceito de jogo propriamente dito, conectando-o à experiência em sentido pragmático ou, mais especificamente, pragmatista. Por fim, é proposto um experimento, Segura!, com o objetivo de aplicar alguns dos conceitos abordados bem como estender o debate
Genesis. development and prospects of interactive animation set in the internet
No full textThe various mechanisms of interactivity on the internet introduce new production
opportunities and interaction with the digital image. Given this reality, this research
aims to investigate, specifically in the field of art, how technological devices in the
use of interactivity on the Internet are designed for interactive animations;
describes, moreover, how the interactive features contribute to establish and
strengthen different forms of experience by the visitor's participation in the
exploration, creation, or expansion of the narrative of their own stories.Os distintos mecanismos de interatividade presentes na Internet instauram novas
possibilidades de produção e interação com a imagem digital. Diante desta
realidade, a pesquisa propõe investigar, especificamente no campo da arte, como
os dispositivos tecnológicos de interatividade inseridos na Internet se instalam na
feitura de animações interativas. Descreve, ainda, como tais recursos interativos
contribuem para o estabelecimento e fortalecimento de distintas formas de
vivenciar experiências, através da participação do interator, na exploração,
criação ou expansão da narrativa de suas histórias
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
The enunciation and the reflexivity in documentary cinema: theories, filmographies and its undertaking
No full textEste trabalho disserta em torno da idéia de enunciação no cinema documentário, tendo em vista principalmente um aspecto encontrado nesse campo chamado de reflexividade. De modo geral, as questões de enunciação no campo desse cinema permeiam a realização documentária desde o plano de filmagem até o momento da recepção pelo público que assiste
ao filme. Ao escolher esse objeto de estudo buscava-se encontrar aspectos instigantes sobre o percurso do documentário como um produto audiovisual vinculado à idéia de enunciar sobre o mundo vivido. A pesquisa agregou as contribuições teóricas de alguns autores em torno do que pode ser considerado típico da enunciação no cinema documentário, entre eles Fernão Ramos e Jean Louis Comolli, passando pelas tendências neste cinema e importantes cineastas com seus filmes (entre esses: Eduardo Coutinho, 2005: O fim e o princípio ; João Moreira Salles, 2006
Santiago e Kiko Goifman, 2002: 33 ). Mais adiante, se alcança uma discussão sobre a realização do documentário
Os Corrêa da Silva e Santos Reis (curtametragem, 24 , resultado de 12 horas de filmagem em material bruto na comunidade rural de Água Limpa, município Faina, Goiás e com ex-moradores dessa comunidade). Os resultados obtidos com a dissertação apontam, no geral, para a noção da tomada da imagem-câmera como uma dimensão da enunciação documentária que fortalece a perspectiva de enunciar
sobre o mundo vivido e interação com ele. Ao final se tem a compreensão de uma proposta de atuação do documentarista que se volta para as pessoas, sujeitas de sua ação, na busca de dividir com elas uma mise-en-scène cinematográfica capaz de fazer emergir a singularidade das mesmas, para além de uma argumentação direcionada para algo previamente definido. É essa dependência estética do real que fortalece um filme documentário e permite ver nele um quê a mais na sua enunciação.This dissertation deals with the idea of enunciation in documentary cinema, also taking into account an aspect found within this field called reflexivity. Generally the questions of enunciation in the field of this cinema permeate the documentary undertaking from the film project to the moment of reception by the public who watch the film. In choosing this object of study it was aimed to find instigating aspects about the course of the documentary as an audiovisual product linked to the idea of enunciation about the lived world. The research joins together theoretical contributions of some authors around what we might consider
typical of enunciation in documentary cinema, among them Fernão Ramos and Jean Louis Comolli, passing through the tendencies in this cinema and important film-makers with their
films (among these: Eduardo Coutinho, 2005: O fim e o princípio ; João Moreira Salles, 2006 Santiago and Kiko Goifman, 2002: 33 ). Further on, a revealing discussion is made about the undertaking of the documentary Os Corrêa da Silva e Santos Reis (a short-film, 24 , the result of 12 hours of filming of raw material in the rural community of Água Limpa and with ex-inhabitants of that community). The results obtained with this dissertation point, generally, towards the notion of taking the câmera-image as a dimension of documentary enunciation which strengthens the persepective of enunciation about the lived world. At the
end there is an understanding of a proposal of performance of the documentary film-maker which turns to the people, subjects of his/her action, in aiming to divide with them a
cinematographic mise-en-scène capable of making emerge their singularity, as well as argumentation directed to something pre-defined. It is this aesthetic dependence on the real which strengthens a documentary film and allows one to see in it more than what is in its enunciation
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
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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