1,721,271 research outputs found
brush+250boot+best
No full textThis is a Mesquite file. Contact Rudolf Meier for questions regarding this file
sepsidae_matrix
No full textThis is a Mesquite file that contains the character matrix. Contact Rudolf Meier for questions regarding this file
brush+250boot+best_stepmatrix
No full textThis is a Mesquite file that contains the stepmatrix. Contact Rudolf Meier for questions regarding this file
brush+250boot+best_likelihood
No full textThis is a Mesquite file that contains the tree sets for the likelihood analysis. Contact Rudolf Meier for questions regarding this file
brush+250boot+best_parsimony
No full textThis is a Mesquite file that contains the tree sets for the parsimony analysis. Contact Rudolf Meier for questions regarding this file
brush+250boot
No full textThis is a Mesquite file that contains the appendage character sets for the bootstrap analysis. Contact Rudolf Meier for questions regarding this file
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
Sports Architecture: High-Tech Urban Infrastructure between Identity, Enhancement, and Redevelopment
No full textSports architecture is almost ignored by the historiographical and architectural culture, this is even more surprising if we consider how it has always been fields of technological-constructive and engineering-structural experimentation. It is also true that from the late nineteenth century until the eighties of the last century, the construction field of the stadiums is characterized by the predominance of engineering culture that has limited its essence to structural functionalism. If we consider the Generational Theory of Sports Infrastructures with particular regard to their technological evolution (Allegri, 2006, 2021) we can see, between the late 60s and early 70s, a first important step towards the technological complexity of sports buildings with the introduction of innovative materials and construction systems for building coverings and skins.
Just think of the polymeric materials of the Olympic Stadium in Munich (1972), the high-performance composite textiles of the Olympic Stadium in Montreal (1976) or the "MERO system" of the Municipal Stadium in Split (1979). The aesthetics of the machine has always been, since ancient times, the main feature of architecture for sport where structure/ technology/construction are merged in a language where everything is led back to pure function. It is precisely from the end of the 80s to the 90s, that this material-technological innovation is added to that of systems for handling portions of buildings: hi-tech for complex and multifunctional urban machines, as in the case of the Amsterdam Arena (1996) or the Millennium Stadium in Cardiff (1997).
All of these are hi-tech experiments that have anticipated the latest generation of hyper-technological sports infrastructures that, from the early 2000s, have added technology as a language of aesthetic aspects. In Italy, the last major event (1990 World Cup) was characterized by functional-adjustment and interventions structural of some historical sport buildings and the construction of sports facilities set to research new materials and their application in experimental construction systems. Within just three decades, they have already been extensively reworked, some replaced, others abandoned. For example, the Delle Alpi Stadium in Turin (1990) that was demolished after a few years, or the San Nicola Stadium in Bari (1990), designed by Renzo Piano, where the innovation is characterized by a steel structure suitable for large lights, along with a transparent Teflon cover.
The proposed paper investigates aspects never analyzed before in a scientific approach, between the history of technological culture, conservation and enhancement of some architectural icons sports, references of the cultural landscape and identity. The investigation runs between the needs for updating and the conservation/ enhancement of buildings with high identity value, in a delicate balance where economic-managerial sustainability becomes a strategic objective. An interesting case lies in the Italian context, where the relationship between city, stadium and cultural heritage is linked and requires specific approaches
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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