1,721,004 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
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
Heritage as Process: Constructing the Historical Child’s Voice Through Art Practice
Full text linkDavid Harvey describes heritage as a ‘process’ that is not inert and takes place in the present
(2010). In heritage practices there are opposing discourses and positions. Artists add another
voice to the discourses of heritage and have been described as ‘critical figure[s] in the heritage
process’ (Howard, 1998) because they present institutional critique, craft new heritage, and
open up ‘Authorised Heritage Discourse’ (Smith, 2006). The role of the artist in this process is
explored through practice and the critique of works by artists, including: Corin Sworn, Andrea
Fraser, and Danh Vo. This study challenges how art and artists are used in heritage practices,
and proposes that artworks that have not been commissioned by heritage institutions can still be
used to critique the processes of heritage.
The study focuses on historical biographies at the Foundling Museum in London: a ‘museum of
childhood’ (Harris, 2013). In current heritage practice, children are regarded as passive and
their role is ‘obscured’ (Smith, 2013). In the Foundling Museum there is a tension of ownership
that stems from the lack of separation between the histories of children and the history of
childhood. Often, the adult voice is represented rather than that of the child. Children are often
voice-less in the preservation of their history, as this process is generally undertaken by adults
on behalf of the children or ‘perhaps for their childhood selves’ (Smith and Pascoe, 2013).
Many scholars still fail to differentiate histories of children, which concern actual practices of
young people, from histories of childhood that are ideological concepts adults hold of children.
This study explores how the voice of the child might be ‘found’ or reconstructed, using art
practice as a form of interrogation. The facilitation of workshops with contemporary children
provided material to construct the historical child’s voice. The workshops explored the
children’s empathetic engagement to the foundlings through role-play and art making;
alongside examining the boundaries of freedom and control. Field notes were employed as a
method of documentation and critical analysis when photography of children was not permitted
due to ethical considerations. Finally, curation of situated artworks were employed as a method
to test the communication of the historical voice in the museum
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
Curatorial insecurity : the impact of 3D scanning and printing on curatorial practice
Full text linkThis thesis is situated in the field of digital cultural heritage and uses 3D scanning and printing as both a method and a provocation to reveal the curatorial process while simultaneously examining how the technology affects museum practice from the perspective of the museum curator. 3D scanning and printing (henceforth 3DSP) has become a keen area of interest among museum practitioners and researchers. The ever-increasing accessibility of 3D technology opens up new possibilities for audiences and curators alike, with the potential to establish new structures of practice and engagement. Yet despite the growing interest in 3DSP, very little is known about how integration of 3DSP does and could affect museum practice and its traditional methods of working.
This thesis will investigate how and why 3DSP is affecting the practices and traditions of the museum from the perspective of the curator, a member of staff who is arguably the first and primary engager with museum objects. The research undertaken for this study will focus on two museums, Museums Sheffield and The British Museum, to provide an account of how 3DSP affects curatorial practice when it is first introduced and an account of cases where 3DSP is already in operation.
The reader is first introduced to the concept of the 3DSP and its surrounding literature in the contextual review. The chapter acknowledges that 3DSP is relatively new within the museum sector and that such a novelty impacts on the breadth and depth of heritage sector literature on 3DSP. The contextual review thus provides a background to museum discourse before discussing the changing role of the museum curator. The literature concerning 3DSP in the museum is positioned and examined as a tool for simultaneously frustrating and supporting the role of the museum and its curators.
With the above arguments in mind, the thesis then moves on to discuss the methods and data used to examine 3DSP in the museum. Drawing on curatorial museum-based methods conducted over the past 3 years, this thesis details the perceived effect of 3DSP on museum practice and traditions. Daily tasks, such as planning exhibition concepts, accessioning and object research are reinterpreted as methods for this study, with the aim of understanding not only the role of the museum curator, but also how 3DSP impacts on the practice of museum curators.
By situating 3DSP at the heart of this study and working with pre-existing 3DSP projects, this study provides real-world practice examples of how the integration of 3DSP affects the museum.
At the centre of this thesis are three discussion chapters which examine the data gathered from an Acclimatisation Study and two curatorial residencies at Museums Sheffield and The British Museum. The chapters examine the curatorial positionality of 3DSP, where 3DSP sits with the museum structure and politics, and finally the digital implications of introducing 3DSP into the museum. Across all three chapters there is an attempt to position 3DSP within the wider narrative of digital cultural heritage, examining, for example, 3DSP’s effect on our current understanding of authenticity and authority.
The first of the discussion chapters focuses on the curatorial intention and seeks to understand the perceived role and position of 3DSP in the museum. The chapter examines how participating curators from Museums Sheffield and The British Museum and their curatorial departments have responded to 3DSP and how their curatorial position could either work with or against the framework of the museum.
In the second discussion chapter the focus is on where 3DSP objects sit within in the museum. The chapter reveals the changes, frustrations and enrichments 3DSP has brought to curatorial practice and makes comparisons with alternative replicas, which have formed part of museum practice for decades. The material and immaterial properties of 3DSP museum objects are discussed in the chapter and applied to how curators believe this impacts on the object’s sense of authenticity and authority.
In the final discussion chapter, the focus is on the digital challenges and benefits of introducing 3DSP into the practices of the museum. The chapter explores how curators responded to the introduction of 3DSP and furthers discussions from the first chapter. Within this chapter are examinations of how 3DSP affects copyright law, debates concerning how to treat data points added by the scanning software, and data storage concerns.
The conclusions, detailed in this thesis, reveal complex and shifting perceptions on the role and position of 3DSP within the museum that is interlinked with the museum’s practice and traditions. Preconceptions exist about the use of the replica and its potential frustration of
5 museums’ objects’ authenticity as well as the transformations of digital objects and their use beyond the collection
Documentary practice as radical process in challenging dominant media and state narratives
Full text linkThis critical appraisal of the submitted work outlines my position within radical
documentary film making from Britain’s Black Legacy (1991) to Burn (2014). Exploring
the works in relation to the political concerns during the periods of the time of
practice, the notion of an uncompromising ‘documentary of force’ develops
throughout the portfolio.
Moving from broadcast interventions, thorough Third Cinema practices and
explorations of ‘poetic testimonies’ the works use a hybrid of documentarist modes
determined by the context of the time. A praxis develops using documentary film to
utilise strategies of political, cultural, and cinematic interventions to build on latent
militancy and challenge dominant media and state narratives on the core issues of
race, class and state violence. In defining a ‘documentary of force’ it posits a form of
resistance using film as a tool to force debate and political change, as demanded by
the films participants.
The approach taken is an explicitly partisan form of filmmaking where the maker jointly
instigates direct actions, collaborating with the film participants, and the Gramscian
notion of the organic intellectual is explored through these contributors. The
importance of the embedded film activist is made clear in a methodology of trust, built
over 23 years of collaborations.
The praxis seeks to move the issues of concern in the films from the peripheral to the
central. The attempts by the state to supress the work, to make it compliant, is a
structural process and the marginalisation of the work in the portfolio, the
negotiations with broadcasters and elements of the state, and the film makers
confrontational approach, are all examined. The contribution of the work to the
documentary field is documented across a range of outputs, citations and articles. Its
effectiveness to implement policy change, as well as its impact on broadcast
documentaries, is also explored.
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“Defiance is resistance, and resistance is the beginning of being.”
Mahmoud Darwish
The power of factual film to inspire action and agitate for radical change has
developed hand in hand with social struggles and mass movements for several
decades. The portfolio presented is posited as a praxis of a ‘documentary of force’,
outlining its contribution to documentary filmmaking.
Documentary is the fusion of art and reality, and the balance between the two varies
within documentary modes and their hybrids. On examining the portfolio of work,
including the ground-breaking, controversial films, After the Storm (1992), Justice
Denied (1994), and Injustice (2001), complex questions of subjectivity, censorship and
ethics emerge. This work attempts to challenge conventional documentary through
the radical position of the filmmaker. Throughout the body of work, the coherent
approach is ‘documentary practice as a radical process in challenging the dominant
media and state narratives’. The portfolio largely focuses on the representation of
political struggles for justice in the UK. Explorations of resistance, race and class from
a community perspective are documented over three decades, employing a
‘documentary of force’ research method. It is a praxis summed up by the Dziga-
Vertov Group: ‘The problem is not to make political films but to make films
politically’
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