1,720,968 research outputs found
Accessibility for Transgender People to Thrive
No full textThis work is part memoir and part manifesto, with poetry and academia weaved through like the threads of fate. In it is the everyday culture in our society, identity and the attack upon it for Transgender people, and our communities. The voice in this piece is not just the author's alone, it is a whole community together, because it took the community to build the author. This piece is a call to society to learn, educate, and accept. It is for accessibility, it is for living, it is for thriving as a Transgender person. Here you will read the authors personal experiences, learn about the actions the author has taken part of, and see how the state of Ohio affects the Transgender community. The House Bills 245 and 183 will be spoken of, and what they actually mean to the community. This piece is a protest.No embargoAcademic Major: Comparative Studie
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
The "Problem" With Musical Production in the Digital Age
Full text linkSince the development of the first file sharing program, Napster, in 1999, the practice of illegal file sharing, or piracy, has received much, if not all, of the blame from the major recorded music labels for the dramatic decline of recorded music sales over the same period. In the first half of this paper, I investigate whether the industry’s claims are substantive. Based on the fact that the industry’s claims are not only based on unreliable and misleading data, but also ignore multiple other causes and explanations, I determine that the explanation for declining sales based on piracy is without merit. I go on to show that the decline in sales itself is not a concern, not only for the fact that production is nevertheless increasing, and that sales are predicted to rise.
Considering these conclusions, I pose the question of why, despite the relatively groundless nature of the piracy claims and the apparently hopeful future for the industry, the major labels have pressed the narrative of piracy as the culprit. Taking into consideration the role that digital markets have played in the sales decline, I argue that the major labels fear that digital distribution allows for greater competition from independent labels and unsigned artists. In order to properly analyze the conditions and future of the recorded music industry, I deconstruct the industry narrative, examining the false assumptions it is based on. I then establish a new narrative, analyzing the technological, social, economic, and institutional parameters of the industry, and the goals of popular music production for both artists and society. I also take into account individuals’ goals for music consumption, based on data taken from a survey of Ohio State undergraduate students. Based on these conditions, I propose a series of alternatives to the current industrial production model and address their potential benefits to both artists and society.No embargoAcademic Major: Comparative Studie
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
Virtual Band, Actual Reality: The Actualizaton of the Virtual by the Gorillaz
Full text linkA recent and growing branch of media studies would be a critical approach to video games. Advancing technologies have fostered the developments of 3D virtual worlds, and within those worlds, virtual selves. People began to cultivate a presence on the internet over a spectrum of mediums. What is hard about the virtual self is there doesn't seem to be one consensus on how to define it in relation to our actualized selves. Is it an extension of our identity? Is it a form of self-expression? Is it a new identity entirely? I plan to examine the virtual self in the context of a unique musical online presence: the band the Gorillaz. The Gorillaz is a rare virtual band comprised of four original animated characters. They are the sort of virtual selves I would consider as new identities entirely, even if inspired by certain traits of their creators Damon Albarn and Jamie Hewlett. We will spend much time examining the Gorillaz's presence as a band on the internet, especially in referral to Henry Jenkin's work in convergence culture. I will then examine the virtual self and will refer to the work done by William Echard on virtuality. In his article "Sensible Virtual Selves: Bodies, Instruments and the Becoming-concrete of Music," Echard uses Deleuze's "theory of virtuality as a starting point for rethinking music, instrument and body." Which begs the question, what is a virtual body, if not the avatar? The avatar is a virtual body that occupies the 3D virtual worlds, and depending on the program, may have the ability to interact with other users in this virtual world via avatar. Much of the literature on avatars assumes the avatar interacts solely with other avatars in their own 3D virtual space. But within the context of the Gorillaz, this assumption fails: The Gorillaz's avatars are occupying our personal virtual spaces: our Instagram feeds, our reddits, our Spotifys, places where even we do not have the advantage of a virtual physical presence by avatar. How, then, do we read these avatars' interactions with fans who do not have a virtual body themselves? To further complicate this conversation, I would like to compare the relationships developed through, or maybe by, avatars to the concept of the parasocial, or single sided, relationship. But it is here with the bodiless fans where I would say it is more useful to consider the virtual self an extension of the actual (physical) self. By that logic, though, it seems the only thing preventing a virtual extension of self becoming its own unit would be the possession of or lack of a (virtual) body. Here we might stumble into coming full circle by realizing the parallel role of a body actualizing a virtual presence online and, as Echard points out, in music. And it is here that the Gorillaz live.No embargoAcademic Major: Comparative Studie
Musical Imaginary, Identity and Representation: The Case of Gentleman the German Reggae Luminary
Full text linkThis paper attempts to examine the mediation's and negotiations that occur when the Other appropriates a particularly parochial cultural expression. The paper pays attention to the multiple scholarly approaches towards understanding the musical imaginary. In particular I take interest in an approach that articulates an aesthetic component that emerges from the socio-cultural ground. In other words, what negotiations occur when a white male German co-opts a cultural expression that is deeply invested in identity politics.No embargoAcademic Major: Comparative Studie
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