1,720,961 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
Mediation as Metaphor and Method: The Visualization of an Odissi Body
Full text linkThe Arts: 1st Place (The Ohio State University Edward F. Hayes Graduate Research Forum)Odissi is an eastern Indian classical dance form that has homogenized various heterogeneous movement traditions, such as those of the Maharis or temple-dancers and the Gotipuas or young boys dressed as females, in the middle of the twentieth century, when middle-class dancers appropriated the dance form from the earlier practitioners. The dance is globally popular circulating through numerous Youtube videos and 3D dance-films. It is represented in major concert dance venues as well as in the Indian diaspora. As an Odissi practitioner, I am not only interested in ways that Odissi dance has evolved over the past six decades but also in establishing embodied connections between the movement practice of Odissi dancers with their central historical figures, the Maharis and the Gotipuas. I use digital mediation through motion capture technology as a means to investigate Odissi movement by mediating multiple versions of the dance form from different time periods and by different choreographers. Also, mediation functions as metaphor since the skeletal motion captured version of the ornate Odissi dancing body deconstructs the notion of beauty within Odissi baring the marginalizations and erasures of historical figures within the form. In this paper I explore mediating the Odissi body through motion capture technology and investigating mediation as a methodology—both as a lens and an analytical tool.
I am interested in the creative juxtaposition of motion capture technology and Odissi movement. Motion capture technology digitizes Odissi movement into 3D data and calibrates it onto a skeletal system that disornaments the Odissi body from its quintessential smile, hand-gestures, make-up, heel and toe movements, costume, and facial expressions. It apparently disembodies the dancing Odissi body of its accoutrements baring a skeletal system to then be used as an analytical tool for examining spatial tensions, inertia, weight-shift, and trajectory of Odissi movement. The 3D environment enables a three dimensional perspective to analyze the moving body based on kinetic properties. I can also use the 3D data for facilitating further 3D visualizations of abstract figures or digitally created avatars.
The nationalist construction of Odissi dance by a curious partnership between Victorian puritanism and Brahmanical supremacy, has traditionally marginalized the indigenous dancing bodies of the Maharis and the Gotipuas. After achieving political independence from British colonization, Indian elites decided to develop indigenous movement practices as a way to establish India’s rich ancient heritage. While Maharis and Gotipuas provided the historical context for founding Odissi dance as a two thousand year old tradition, they were marginalized in the name of refinement, standardization, and codification of movement. The last surviving Mahari passed away in March 2015 even though the Gotipuas continue to thrive in their indigenous context in the eastern Indian state of Odisha. The Mahari body was too excessive given their undomesticated sexual relations with the societal male elites outside of social marriage. By definition, they were married to Jagannath, the presiding male Hindu deity of Odissi. Her ritualistic performance stood for the sexual pacification of Jagannath. Although cultural reformers in the 1950s based Odissi dance on Mahari ritual performance, the actual Maharis were criminalized and stigmatized as prostitutes. The newly emerging Indian citizen educated in British values of propriety found the Mahari transgressive of social norms and simplistically dismissed her as being unrespectable, even though the Brahmanical system continued unscathed. Maharis were scapegoated for an entire patriarchal tradition that was also emancipatory in some respects, such as Maharis enjoyed certain civil liberties unlike her contemporaneous domesticated wives.
Interested in a conversation between the corporeal and the mediated dancing bodies of Odissi, I argue that the live Odissi dancing body is disembodied because of the marginalization of the Gotipua and the death of the Mahari, while the motion capture mediation resurfaces the embodiment of the erased Mahari. Mediation is a metaphor of embodiment. The reductive dichotomy of live embodiment and disembodied digitality does not hold in this situation.No embarg
Where are the edges of your flesh and who determines them? Prosthetic, Immersive, and Embodied Performance
Full text linkThe Arts: 3rd Place (The Ohio State University Edward F. Hayes Graduate Research Forum)The purpose of this work emerged from a desire to understand and create a relationship between choreography and the Virtual Reality (VR) painting program, Tilt Brush. When performing with a VR headset and controllers, the body and machine blend into cyborg, a body prosthetic. However, through the eyes of the wearer, paint flows from their fingertips like a 3D sci-fi movie. The performer is immersed in a world the audience does not see. This quandary is at the heart of my investigations bridging dance performance and VR. What are the implications for performing in a medium that is meant for the single user? My research methodologies live inside an iterative process and include phenomenological reflection, roles and tasks, choreographic and improvisational structures, and autoethnographic making methods. This paper aims to highlight the creation of an embodied practice with and inside technology and the benefits of partnering with VR and computing systems when in performance to create unimagined results. The collaboration required when live performance partners with VR not only highlights the role augmented or othered bodies play in shaping our perceptions but is a rich environment of embodiment and identity.No embarg
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
Examining the Examiners: An Analysis of “Staring at the Sun”
Full text linkIn an increasingly technologic age, video is becoming more easily accessible, and therefore, infused into all the art forms. Dance has always been about the physical body moving, but now performances are moving forward to incorporate recorded video alongside the live performers. However, intermediated works can often lack a strong connection between the physical movement and the video. The purpose of our project is to create an original work that fuses video and live dance to convey a unified message. The creative research and concluding performance are occurring at The Advanced Computing Center for the Arts and Design (ACCAD) in the Experimental Media and Movement Arts Lab (EMMA). This facility enables experimentation with video projected on screens in and around a dance performance space. The final project will be an eighteen-minute long performance with video projection on three screens and eight live dancers. By choreographing, performing, and creating the video, we can manipulate the distinct parts of the project to continuously search for and construct their relationships. Our research thus far has been a cycle that starts by either choreographing movement or creating video, merging the two, evaluating the video and movement’s effectiveness as a pair, and then returning to previous steps to make appropriate changes. We are striving for a complementary relationship between video and live performance in terms of mood, image, timing, and narrative. Although there will never be one correct formula for creating a successfully intermediated dance work, our research will produce our unique version of what an integrated work can be.No embargoAcademic Major: Danc
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
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