1,720,963 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
Sustainable Design by Default - Towards an Action Repertoire for Transformation
No full textBegibt man sich tief in den Bereich der Nachhaltigkeitsforschung und erörtert die Querverbindungen und Bezüge, die sich für die Praxis des Design eröffnen, so scheint eine eher düstere Lesart von nachhaltigem Design vorzuherrschen, aus deren Perspektive eben dieses nachhaltige Design eine scheiternde Praxis ist, die entweder zu hoch zielt, indem sie globale, inter- und intragenerationale Probleme lösen will, oder zu niedrig, indem sie sich lediglich Materialkreisläufen und-einflüssen neuer Produkte und Services widmet. Dieser Lesart steht allerdings auch eine positivere, konstruktivere entgegen, die die Stärken und Potentiale erkennt, die die Praxis des Design für die Herausforderungen von Nachhaltigkeit bereit hält.
Während der wachstumsorientierte Diskurs der Nachhaltigen Entwicklung immer noch weitgehend die Praxis des nachhaltigen Designs dominiert, eröffnen sich neuerdings andere Strömungen ganzheitlicher Ansätze von Nachhaltigkeit, verwurzelt beispielsweise im Postwachstumsdiskurs oder der Perspektive starker Nachhaltigkeit, die sich unter dem Deckmantel von Suffizienz, Resilienz oder Aktivismus im Design wiederentdecken lassen. Diese Bewegungen haben den Anspruch gemein, ihr Wissen mit der Öffentlichkeit teilen zu wollen und damit zu erreichen, dass Bürger aktiv in ihrer Gemeinschaft agieren können.
Die angesprochene düstere Lesart von Nachhaltigkeit im Design, sowie der damit verbundene Aufruf an Designer, ihre Praxis der Un-Nachhaltigkeit in eine zukunftsorientierte zu transformieren, resultiert meist nur in Schulterzucken, da es weitestgehend unklar ist, wie diese höchst theoretischen (utopischen) Anforderungen in der eigenen Praxis umgesetzt werden könnten. Die vorliegende Arbeit spricht sich vehement für eine alternative, positivere Narration von nachhaltigem Design aus, die sich über Schuldzuweisungen hinwegsetzt und sich darauf besinnt, was die designerische Praxis im Kontext von Nachhaltigkeit zu leisten vermag.
Insbesondere der Wandel von einer produkt- und service-, hin zu einer prozess-orientierteren Praxis, aber auch ein gestärktes Bewusstsein für die Auswirkungen der designerischen Erzeugnisse auf die Welt, tragen dazu bei, dass sich neue Richtungen des Nachhaltigen Design herausbilden. Die damit verbundenen Prozesse laufen oftmals außerhalb wachstumsorientiertem ökonomischem Fortschritt ab, um sich sozialem Fortschritt zu verschreiben. In diesem Zusammenhang wird klar, dass Designer nicht außerhalb eines sozialen Kontext operieren können und ihre designerische Arbeit, so klein die Auswirkungen auch sind, Einfluss auf das dynamische Gleichgewicht unseres Planeten nimmt.
Unter diesen Gesichtspunkten ist es das Ziel der vorliegenden Dissertation, nachhaltiges Design als Basiskonfiguration im Design zu rahmen und es vom sperrigen Begriff der Nachhaltigkeit zu befreien, indem dessen Grundprinzipien der Transformation, Partizipation und des zukunftsorientierten Denken und Handeln extrahiert und handhabbar gemacht werden. Berücksichtigt man diese Basiskonfiguration, bewegt sich ein zukünftiges Design zwischen Anthropo- und Ökozentrik, und wird gegenwärtige Strömungen des nutzerzentrierten Designs, die sich oftmals ihrer sozialen Implikationen nicht bewusst wird, notwendigerweise infrage stellen.
Mit dieser Arbeit, die insgesamt sechs Jahre einnahm, stellte sich die Erkenntnis ein, dass nachhaltiges Design nicht unbedingt mit einer spezifischen Praxis, dafür umso mehr mit einer individuellen Grundhaltung verknüpft ist, die im Alltag verortet und ethischen Grundsätzen verpflichtet ist. Aufgrund der komplexen und ineinandergreifenden, globalen Heraus-forderungen die vor uns liegen, ist nachhaltiges Design zudem auf breites, interdisziplinäres Wissen angewiesen. Um dies zu belegen, beleuchtet diese Arbeit den Weg von den frühen Wurzeln des nachhaltigen Design innerhalb der Nachhaltigkeitsbewegungen, bis hin zu seiner radikalen Öffnung in verschiedene Richtungen wie etwa Design Aktivismus, Transformations-design, Design für soziale Innovation und partizipatives Design.
Darüber hinaus wird eine Neu-Formulierung der nachhaltigen Designpraxis vorgeschlagen, die sie mit dem Ansatz "Forschung-durch-Design" und in der Folge, durch das explorative Designprojekt, mit einem dynamischen, interdisziplinären Handlungsrepertoire verknüpft.
Schlägt man diese Konzeption von nachhaltigem Design vor, erscheinen nicht nur die zwei Dimensionen der Transformation und Partizipation annähernd selbsttätig, sondern auch die Vorstellung, dass Design Kontexte in Richtung möglicher (nachhaltiger) Zukünfte erschließen vermag. In diesem Sinne ergeben sich mehrere übergeordnete Perspektiven, die im Laufe dieser Arbeit durchgehend immer wieder auftauchen:
1 Öffnen – Wie können Designer den Zugang zu Kontexten, Werkzeugen, Wissen und Technologien durch kollaborative, interdisziplinäres Handeln eröffnen.
2 Erzeugen (im Sinne von Making) – Wie können Designer Prozesse bereitstellen, die Akteure darin involvieren, mögliche Zukünfte zu erzeugen und kritisch zu bewerten
3 Transformieren – Wie können Designer Kontexte und Situationen von einem bestehenden in einen bevorzugten Zustand transformieren (und wie sehen die damit verbundenen Aushandlungsprozesse in Bezug auf inter- und intragenerationaler Gerechtigkeit aus)
Das Thema der Transformation und des zukunftsgewandten Denken und Handeln, beschäftigt derzeit nicht ausschließlich nachhaltiges Design, sondern weit darüber hinaus. Hierbei schwingt die Idee mit, Design könne zumindest anteilhaft Fähigkeiten und Werkzeuge bereitstellen, die diese Zielrichtung unterstützen. Dies zielt allerdings nicht nur auf die Transformation von Kontexten und Situationen, sondern auch Nutzerverhalten und Marktimpulse. In der vorliegenden Arbeit hat die Idee von Transformation das gesamte sechsjährige Forschungsvorhaben begleitet, das sich nun dem Ende nähert.
Das dem Forschungsvorhaben zentrale Designprojekt Neighborhood Labs wurde von einer interdisziplinären Gruppe von Designforschern und anderen Akteuren in einer innerstädtischen, aber isolierten Nachbarschaft in Berlin Mitte durchgeführt. Dabei spielte die Entwicklung eines Forschungskonzeptes, sowie eines auf einer partizipativen Designmethodik und dem Ansatz eines Living Labs basierenden Experimentierprozesses eine zentrale Rolle. Es sah kein vorgegebenes Ende vor und bot das Potential, von den involvierten Akteuren nach dem Ende des offiziellen Projektes weitergeführt zu werden.
Bezüglich Nachhaltigkeit festigte sich das Thema der Tauschpraktiken und Kollaboration als Grundlage der Designphasen und -iterationen. Während zu Beginn eher der Austausch von Objekten, Produkten und Services in bestimmten "Communities of Practice" im Mittel-punkt stand, so verschob sich der Schwerpunkt im Laufe der Projektzeit immer mehr in Richtung Wissensaustausch und der Handlungsfähigkeit von Akteuren in lokalen Transformationsprozessen, ein deutlich schwammigeres Thema, als der Austausch von Objekten oder Services. Im Projekt ließen sich drei ineinander verwobene Phasen identifizieren:
– Tausch-Phase / Neighborhood Lab: Aufbau und Betrieb eines living labs und Untersuchung des Kontext - Annäherung an die Nachbarschaft und Design von Werkzeugen, die dabei unterstützen den Kontext, sowie die Bedürfnisse und Einschränkungen zu beleuchten und lokale Akteure für das Projekt zu begeistern. Die gesammelten Erkenntnisse informieren den Forschungsprozess und grenzen die Forschungsfrage weiter ein. Diese Phase brachte einige Konzepte und erste Prototypen in Zusammenarbeit mit den lokalen Akteuren auf der Fischerinsel hervor.
– Infrastruktur-Phase / Gestaltung von Infrastrukturen & Wandel fördern: Design und iteratives testen der partizipativen Werkzeuge, wie etwa der Hybrid Letterbox, die die Lücke zwischen analog und digital schließt, um Fragen des sozialen Zusammenhalts und der Kommunikation in der Nachbarschaft zu diskutieren und evaluieren.
– Transfer Phase / Design transfer: Eröffnung des Kontextes und Transfer der Methoden und Werkzeuge aus dem ursprünglichen Projekt hinaus in andere Projekte.
Betrachtet man den Prozess dieses lange andauernden Projektes, ergeben sich letztendlich, wenn man die Trial-and-Error-Phasen hinter sich gelassen hat, prototpyisch Forschung-durch-Design praktiziert hat und im lokalen Kontext untergetaucht ist, einige Schlüsselpositionen für den Umgang mit und die Vermittlung von verzwickten Problemen der Nachhaltigkeit.
Seitens der Praxis stellen sich diese in den Kategorien der untersuchenden Aktion, partizipativen Werkzeuge und Workshopformate ein, die sich aus der breiten Masse von interdisziplinären Aktionen speist, die während der Projektlaufzeit durchgeführt wurden. Diese Kategorien führen des Weiteren zu einem dynamischen Aktionsrepertoire für Transformation, welches als kommunizierbares Resultat der Arbeit vorgeschlagen wird.
Seitens der Theorie wird mit dieser Arbeit der Begriff des "Sustainable Design by default" also der Nachhaltigkeit als dem Design inhärenten Prinzipienkatalog, der sich durch Forschung-durch-Design speist, eingeführt. Dies bringt insbesondere mit sich, die Designpraxis, aber auch die Art und Weise wie Design gelehrt wird, neu zu strukturieren.When going deep into the area of sustainability and looking at the crosslinks that open up regarding the practice of design, a dark narrative appears whereby sustainable design is a failing practice, either aiming too high by trying to tackle global, inter- and intragenerational challenges, or aiming too low by focusing on, for example, material impacts of new products and services; this narrative appears to have an upper hand over one that is more positive and constructive that sees the strengths and potentials that design can bring to the challenges of sustainability. While the growth-oriented sustainable development discourse still dominates the way sustainable design is practiced, there are other streams with a more holistic view of sustainability. These streams are rooted in a post-growth / no-growth or strong sustainability discourse, which are slowly making their way into design practice through the guise of sufficiency, resilience and activism with a common theme of sharing knowledge, allowing citizens to be an active part of their community.
The dark narrative of sustainability in design as well as the call for designers to transform a practice of “un-sustainability” into one that allows “futuring”, leaves most of them shrugging their shoulders in light of how to implement the theoretical (utopian) requirements into their own practice. I argue for providing a different, more positive narrative, moving past the finger-pointing attitude towards reminding oneself what the practice of design in the context of sustainability can bring to the table.
Why there are new directions in sustainable design is largely because design has broadened beyond its product and service fixation towards a more process-oriented practice and an awareness of the impact designers have on this world. In these processes, designers are often taken outside the boundaries of growth-oriented economic progress towards social progress. They are continuously reminded that they cannot operate outside of a societal context and that their work has an impact on the Earth’s dynamic equilibrium (however small it might be).
Thus, the aim of my work is to re-frame sustainable design as a default configuration, stripping it from the unwieldy term of sustainability and extracting its core features of transformation, participation and future-focused thinking. Considering this core configuration, design is bound to be situated between anthropo- and eco-centricity, putting into question current user- and human-centric design approaches that tend to marginalize the everyday context and wider implications of the designed product or service.
Through an investigation that spanned the last five years, I have come to realize that sustainable design has nothing to do with a specific practice, but rather with a mindset which is, at its basis, tied to ethical considerations rooted in everyday life. It is moreover tied to broad, interdisciplinary knowledge that is needed to grasp the interconnected and global challenges that lie ahead. To make this point, in my work I am retracing the steps from the early roots of sustainable design within the sustainability movement towards its radical opening in different directions such as design activism, transformation design, design for social innovation and participatory design.
Furthermore, I propose a re-framing of the practice of sustainable design, (tentatively) linking it with a research-through-design approach and subsequently, through the design case, constructing a dynamic, interdisciplinary action repertoire for designers.
When framing this renewed idea of sustainable design, not only do the two dimensions of transformation and participation almost automatically appear in the current discourse, but also the notion of opening up contexts through design in a way that is directed towards possible (sustainable) futures becomes apparent. Several overarching perspectives resurface in the course of this work:
1 Opening – How can designers open access to contexts, tools, knowledge and technology through collaborative, interdisciplinary action?
2 Making – How can designers provide processes to involve stakeholders in critically assessing and making possible futures?
3 Transforming – How can designers transform contexts and situations from one state to a preferred one (and how can they facilitate the negotiation-processes tied to them with regards to social equity and intra-generational justice)?
The topic of transformation and future-focused thinking is currently engaging most of design, not exclusively sustainable design, and this thinking seems to provide an underlying idea that design may be able to provide at least part of the skill-set required to cater to this transformation. It is, however, not only the context and situations design claims to transform, but also user behavior and market incentives. In this research, transformation is viewed as a careful byline to a project which spans almost six years and is now coming to a close.
The design case for this research is the project Neighborhood Labs which has been run by an interdisciplinary group of design researchers, citizens and other stakeholders in a central, but isolated area in Berlin’s Mitte district. It incorporated the development of a research concept and experimentation process which builds on a participatory design methodology as well as a living lab approach. It was planned open-ended with the potential of stakeholders taking over after the official end of the research project.
In terms of sustainability, the subject and guiding theme of sharing and collaboration was the baseline of the design phases and iterations. While focusing at first on the sharing of concrete objects in a specific community of practice, there was a shift to sharing knowledge, as well as to the empowerment of citizens to impact local decision-making processes, a much fuzzier subject than the sharing of objects or services. The project was run in three intertwined phases:
– Sharing phase / Neighborhood lab: Setting up and running a living lab. Investigating the context and building the infrastructure. Approaching the neighborhood and designing tools for gathering insights about needs and issues within it while drawing active citizens towards the project. After this step, insights inform the research process and help focus the research question further. This phase produced several concepts and sketch prototypes in collaboration with the stakeholders of the Fischerinsel, Berlin.
– Infrastructure phase / Designing infrastructures & fostering change: Designing and testing participatory tools such as the Hybrid Letterbox, an analog-digital bridge device, in order to discuss and evaluate questions of social cohesion and communication within the neighborhood and to activate citizens for involvement in these issues.
– Transfer phase / Design transfer: opening up the context and pushing the methods and tools outside of its initial project and creating new instances thereof.
As I am reflecting on the process of a long-term project now behind me, such as working through trial-and-error phases, prototypical research-through-design attempts and the immersion in the Fischerinsel-context that the research group grew a part of, several key directions in the dealing with and conveying of sustainability challenges appear.
On a practical level, these directions materialize in the categories of investigative action, participatory tools and workshop formats, which are distilled from a broad range of interdisciplinary actions conducted over the course of the research, leading to an action repertoire for transformation which I propose as one of the outcomes of my work.
On a theoretical level, I argue for sustainable design by default, meaning sustainability as an inherent, embedded goal of any design process, integrating a research-through-design mindset in sustainable design or vice versa. In further steps, this entails restructuring the way we teach design and how design practice is informed throughout its process
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
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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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