1,721,189 research outputs found
Cornelia Parker Meets Rebecca Stephens / Andrew Gifford Meets Dave Allen
No full textTilda Swinton asleep in the glass box in Cornelia Parker’s installation, The Maybe (1995). Other objects displayed in the work. Photographs of the garden shed, its blowing up, and the reassembly of the fragments, Cold Dark Matter: an Exploded View (1991), shortlisted for the 1997 Turner Prize. Parker talks about wanting her "date" to be some kind of traveller or explorer. Rebecca Stephens, mountaineer, on a snow-covered mountain. Stephens talks about "passion" – to paint and to climb mountains. Her voice over a shot of her climbing, and over a picture of Parker’s Shirt Burnt by a Meteorite (1996), short-listed for the 1997 Turner Prize. Parker with a feather from a pillow from Sigmund Freud’s couch. Stephens wonders about what makes a piece of "modern art". Parker’s Exhaled Blanket (1996). Wire. Bubbles. Parker lying on Freud’s couch, listening to Stephens’s voice describing a day’s climbing on Everest. Stephens on a climb. Parker in Stephens’s house. She shows Stephens some objects she’s collected. Stephens shows some of her souvenirs. Stephens looking at photographs of some of Parker’s work, including Thirty Pieces of Silver (1989). Stephens shows Parker slides of her climbs. Parker and Stephens going up to the Whispering Gallery in St Paul’s Cathedral; at the top of the Cathedral. Parker talks about the ideas she is thinking about for her art work. Stephens on the climbing wall underneath the Hammersmith Flyover. Her VO talks about the way Parker constantly collects bits and pieces that she finds. Parker in St Paul’s. Collecting fluff and dust from the Whispering Gallery. Stephens climbing. Her VO on Parker’s dust collecting. Parker in her darkroom, using dust and fluff to make slides. Her VO on fluff and using "a relic as a negative". The resulting images. A photograph of grooves in a gramophone record that belonged to Adolf Hitler. She wonders if the jacket Stephens wore on Everest is made of feathers, considering making a photogram from some of them. Feathers. Parker hanging two photograms. Stephens hoping she likes the finished work. The two women look at the photograms of feathers and fluff. Parker presents Stephens with earplugs made of fluff from the Whispering Gallery. The finished photograms.Andrew Gifford carrying a painting into the John Martin gallery. Examples of his "Turneresque" landscape paintings. Gifford painting as sun sets on Teesside. His VO explaining that he wants to show people the beauty of his local area. Gifford talking about the different light; a real Middlesbrough landscape. Gifford with one of his light installations, made from argon and MDF. Dave Allan, public relations manager of Middlesbrough football club, watching a game. His VO suggesting that Teesside has "a bad image". Industrial landscape, goods train. Night scene, which he believes looks "fantastic". He explains what he knows about Gifford’s; he hopes they both have the same "down to earth" attitude. Gifford on a train. Allan watching the football. Allan greets Gifford as he arrives at his house. He confesses that he doesn’t really like landscape painting. They look at slides of Gifford’s work. Gifford and Allan on the beach near the pier at Saltburn. Gifford and Allan discuss painting sunsets. Gifford prefers to paint the light at this time of day rather than the sunset itself. Allan says he likes Gifford’s landscapes. Gifford at work on a seascape. Allan VO talks about them seeing "great crashing waves" on their visit to Saltburn. Gifford working on a landscape near Middlesbrough. Allan in his office. His VO talking about Gifford’s work. Gifford working on a light installation. The completed piece which he thinks will both surprise and please Allan. Gifford hanging the light installation and three paintings in Allan’s bedroom. Allan waits downstairs. Allan’s surprise and delight at the installation and its optical illusion effect. He also likes the landscapes. Viewing by Allan’s friends. His VO saying how beautiful Middlesbrough looks in the paintings. Middlesbrough at night. Credits
Cornelia Parker Meets Rebecca Stephens / Andrew Gifford Meets Dave Allen - ACE357.3
No full textAndrew Gifford carrying a painting into the John Martin gallery. Examples of his "Turneresque" landscape paintings. Gifford painting as sun sets on Teesside. His VO explaining that he wants to show people the beauty of his local area. Gifford talking about the different light; a real Middlesbrough landscape. Gifford with one of his light installations, made from argon and MDF. Dave Allan, public relations manager of Middlesbrough football club, watching a game. His VO suggesting that Teesside has "a bad image". Industrial landscape, goods train. Night scene, which he believes looks "fantastic". He explains what he knows about Gifford’s; he hopes they both have the same "down to earth" attitude. Gifford on a train. Allan watching the football. Allan greets Gifford as he arrives at his house. He confesses that he doesn’t really like landscape painting. They look at slides of Gifford’s work. Gifford and Allan on the beach near the pier at Saltburn. Gifford and Allan discuss painting sunsets. Gifford prefers to paint the light at this time of day rather than the sunset itself. Allan says he likes Gifford’s landscapes. Gifford at work on a seascape. Allan VO talks about them seeing "great crashing waves" on their visit to Saltburn. Gifford working on a landscape near Middlesbrough. Allan in his office. His VO talking about Gifford’s work. Gifford working on a light installation. The completed piece which he thinks will both surprise and please Allan. Gifford hanging the light installation and three paintings in Allan’s bedroom. Allan waits downstairs. Allan’s surprise and delight at the installation and its optical illusion effect. He also likes the landscapes. Viewing by Allan’s friends. His VO saying how beautiful Middlesbrough looks in the paintings. Middlesbrough at night. Credits
Cornelia Parker Meets Rebecca Stephens / Andrew Gifford Meets Dave Allen - ACE357.2
No full textTilda Swinton asleep in the glass box in Cornelia Parker’s installation, The Maybe (1995). Other objects displayed in the work. Photographs of the garden shed, its blowing up, and the reassembly of the fragments, Cold Dark Matter: an Exploded View (1991), shortlisted for the 1997 Turner Prize. Parker talks about wanting her "date" to be some kind of traveller or explorer. Rebecca Stephens, mountaineer, on a snow-covered mountain. Stephens talks about "passion" – to paint and to climb mountains. Her voice over a shot of her climbing, and over a picture of Parker’s Shirt Burnt by a Meteorite (1996), short-listed for the 1997 Turner Prize. Parker with a feather from a pillow from Sigmund Freud’s couch. Stephens wonders about what makes a piece of "modern art". Parker’s Exhaled Blanket (1996). Wire. Bubbles. Parker lying on Freud’s couch, listening to Stephens’s voice describing a day’s climbing on Everest. Stephens on a climb. Parker in Stephens’s house. She shows Stephens some objects she’s collected. Stephens shows some of her souvenirs. Stephens looking at photographs of some of Parker’s work, including Thirty Pieces of Silver (1989). Stephens shows Parker slides of her climbs. Parker and Stephens going up to the Whispering Gallery in St Paul’s Cathedral; at the top of the Cathedral. Parker talks about the ideas she is thinking about for her art work. Stephens on the climbing wall underneath the Hammersmith Flyover. Her VO talks about the way Parker constantly collects bits and pieces that she finds. Parker in St Paul’s. Collecting fluff and dust from the Whispering Gallery. Stephens climbing. Her VO on Parker’s dust collecting. Parker in her darkroom, using dust and fluff to make slides. Her VO on fluff and using "a relic as a negative". The resulting images. A photograph of grooves in a gramophone record that belonged to Adolf Hitler. She wonders if the jacket Stephens wore on Everest is made of feathers, considering making a photogram from some of them. Feathers. Parker hanging two photograms. Stephens hoping she likes the finished work. The two women look at the photograms of feathers and fluff. Parker presents Stephens with earplugs made of fluff from the Whispering Gallery. The finished photograms
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
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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