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A experiência com a desenhografia na educação
Full text linkThe research entitled The ‘Drawingraphy’ of a Movement is written by a researcher, but features two other characters that compose it: the visual artist who produces numerous artistic productions and the teacher who instructs through the Art discipline. The project\u27s theme is the experience through Drawing, a method that combines drawing and photography using a cell phone application and image editing called Picsart. The term was created by the artist herself and arises from the combination of the words drawing + (photo)graphy, as they make up a large part of her personal collection. The ‘Drawingraphy’ express the gestures expressed by a body and its detail. The proposal is carried out as part of the Master\u27s in Education course (in progress) and has a close connection with Axis 3, as it deals with the Language of Art within the educational field and the use of technologies. The results show how technological innovations can help education and provide rich and powerful experiences with artistic languages.
Keywords: education; experience; drawingraphy; technology.A pesquisa intitulada A Desenhografia de um Movimento é escrita por uma pesquisadora, mas traz outras duas personagens que a compõem: a artista visual que realiza inúmeras produções artísticas e a professora que instrui por meio da disciplina de Arte. O projeto tem como temática a experiência pela Desenhografia, método que se constitui na junção do desenho e fotografia pelo aplicativo de celular e edição de imagens Picsart. O termo é criado pela própria artista e surge da união das palavras desenho + (foto)grafia, visto que são elas que compõem grande parte de seu acervo artístico. As desenhografias criadas demonstram a gestualidade expressa por um corpo e o seu minúcio. A proposta é realizada como parte do curso de Mestrado em Educação (em andamento) e traz uma estreita ligação com o Eixo 3, pois trata da Linguagem da Arte dentro do campo educacional e a utilização das tecnologias. Os resultados evidenciam o quanto as inovações tecnológicas podem auxiliar a educação e propiciar ricas e potentes experiências artísticas.
Palavras–chave: educação; experiência; desenhografia; tecnologia
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
A desenhografia de um movimento
Full text linkA dissertação intitulada A Desenhografia de um Movimento tem como temática a experiência pela Desenhografia. O método desenhográfico consiste na junção de duas técnicas artísticas através do aplicativo de celular e edição de imagens Picsart. Este processo tem como objetivo geral desenhografar com utilização do desenho e a fotografia; o projeto é aplicado para uma turma de estudantes do nono ano da Escola Municipal de Ensino Fundamental Reinaldo Cherubini em Nova Prata (RS). A problematização consiste em: como desenhografar com os discentes por meio do desenho e a fotografia? No decorrer dos escritos, a pesquisadora se insere em sua própria pesquisa como professora e artista; desta forma, a educadora que ensina a arte, sua compreensão e características, segue ao lado da artista, que convida à experimentação. Através de um acervo pessoal com inúmeros ensaios que expressam a gestualidade e o movimento de um corpo e com inspiração no pintor, escultor e fotógrafo, Edgar Degas, constitui-se a artista-desenhográfica que adentra na escola por meio dos "Ateliês de Desenhografia". Estes, compõem as linhas cartográficas do espaço-temporal da artista e se efetivam na Desenhografia para a tessitura de composições imagéticas. O texto é composto por cinco blocos; o primeiro é nomeado "Uma arte não assinada" e tem como objetivo mostrar a produção fotográfica não assinada da artista e seu percurso pelas diversas técnicas artísticas aprendidas; o segundo, intitulado "O traço de um Movimento" objetiva compreender as formas pelos quais o movimento é expresso por Degas com o uso do desenho e a fotografia; o terceiro, chamado "A experimentação da Desenhografia" descreve a feitura do processo desenhográfico; o seguinte, intitulado "Dos Ateliês", mostra e escreve como os espaços de experiência são vivenciados pelos estudantes e como são realizadas as montagens desenhográficas embasadas naquelas da artista; o quinto e último bloco chamado "A experiência desenhográfica... Um desfecho!" evidencia a finalização das montagens e a importância dessas na condução de outras experiências. Parte das produções da artista são vistas no decorrer destes escritos; as demais podem ser visualizadas no link: https://www.instagram.com/desenhografandomovimentos/. A pesquisa está vinculada à linha da História e Filosofia da Educação e a pesquisadora ao Grupo de Estudos Pedagogia da Diferença. [resumo fornecido pelo autor]The dissertation entitled The Drawgraphing of a Movement has as its theme the experience through Drawgraph. The drawgraphic method consists of combining two artistic techniques using the Picsart phone application and image editing. This process has the general objective of drawgraphing using drawings and photography; the project is applied to a class of 9th grade students at the Reinaldo Cherubini Municipal Elementary School in Nova Prata (RS). The question consists of: how to draw with students through drawing and photography? Throughout the writings, the researcher inserts herself into her own research as a teacher and artist; In this way, the educator who teaches art, its understanding and characteristics, follows alongside the artist, who invites experimentation. Through a personal collection with countless essays that express the gestures and movement of a body and with inspiration from the painter, sculptor and photographer, Edgar Degas, the drawgraph artist was created who entered the school through the "Drawing Ateliers". These compose cartographic lines of the artist's space-time and are implemented in Drawgraphing for the weaving of image compositions. The text is composed of five blocks; the first is called "Unsigned art" and aims to show the artist's unsigned photographic production and her journey through the various artistic techniques learned; the second, entitled "The Trace of a Movement" aims to understand the ways in which movement is expressed by Degas with the use of drawing and photography; the third, called "The Experimentation of Drawgraphing" which describes the making of the drawing process; the following, entitled "Dos Ateliês", shows and writes how the spaces of experience are experienced by students and how the drawghaphic assemblies are created based on those from the artist; the fifth and final block called "The drawgraphing experience... An outcome!" highlights the completion of the assemblies and the importance of the process leading to other experiences. Part of the artist's productions can be seen throughout these writings; the rest can be viewed at the link: https://www.instagram.com/desenhografandomovimentos/. The research is linked to the History and Philosophy of Education line and the researcher to the Pedagogy of Difference Study Group. [resumo fornecido pelo autor
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
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
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