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Scott B. Wilson
No full textSCOTT B. WILSON
Production Operations Manager,
Orion Program
Mr. Wilson has over 25 years of experience with NASA in support of the Space Shuttle, Orbital Space Plane, Orion, and Ground Systems Development and Operations Programs. Scott began his career at NASA’s Kennedy Space Center in 1991, as an engineer for the Space Shuttle\u27s data processing and main engine avionics systems. Later, he joined the Space Shuttle Upgrades Project where he managed the development and test of flight systems in the areas of wireless sensing, advanced avionics, and spacecraft health management.
Wilson was detailed to NASA Headquarters in late 2004 where he served as a member of the team tasked to develop the top-level requirements for what would become NASA’s current exploration programs. Upon his return to Kennedy, he led efforts to develop systems requirements for the ground systems necessary to support exploration missions. In 2007, Wilson was selected by NASA’s Johnson Space Center to serve as Manager of Production Operations for NASA\u27s Orion Program, overseeing the manufacturing, production, and test of the Orion Multi-Purpose Crew Vehicle.
Wilson graduated from Frankfort Schuyler High School, Frankfort, N.Y., in 1984, earned a Bachelor of Science in electrical engineering from Florida State University, Tallahassee, Fla., in 1990, and received a Master of Science in engineering management from the University of Central Florida in 1995.
Born in Herkimer, N.Y., Wilson currently resides in Cocoa, Floridahttps://commons.erau.edu/space-congress-bios-2016/1052/thumbnail.jp
Pyle, Scott B.
No full textScott B. Pylehttps://place.asburyseminary.edu/holinessphotos/1645/thumbnail.jp
Pyle, Scott B.
No full textScott B. Pylehttps://place.asburyseminary.edu/holinessphotos/1646/thumbnail.jp
Brown, Scott B.
No full textPhotograph from the C.R. Savage Portrait Studio. Name associated with the photograph: Scott B. Brow
Scott, B D, 213485
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/415787Surname: SCOTT. Given Name(s) or Initials: B D. Military Service Number or Last Known Location: 213485. Missing, Wounded and Prisoner of War Enquiry Card Index Number: SEA-3845.237940
Item: [2016.0049.48048] "Scott, B D, 213485
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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