1,720,954 research outputs found
“The Unique Apparition of a Distance”: Aura in Julie Chen and Elizabeth McDevitt’s Octopus
Get PDF The distinction Walter Benjamin makes between unique and mechanically reproduced art would seem to fit easily into the field of book art. Like the sculptural bookwork, Benjamin’s unique work is located in a single place, seems distant from the viewer, and is steeped in ritual. Similar to the democratic multiple, Benjamin’s technologically reproduced work allows art to serve a political function. Benjamin writes that the aura, defined as “the unique apparition of a distance,” is part of the unique work, but is lacking in the multiple. Although the field of book art ostensibly supports the distinction between the auratic, unique work and the political multiple, a closer reading of the artist’s book ends up complicating this binary. Octopus is a 1992 limited-edition work designed by Julie Chen, with text by Elizabeth McDevitt. Its form is a tunnel book, a three-dimensional, underwater scene. At the back of the book, the tentacles of an octopus lurk behind the text of a poem. The poem speaks of disguise, particularly within language. The book’s form physically hides the text, while the poem’s language simultaneously conceals and reveals. Octopus thematizes distance in its textual content and its physical structure. Like many of Chen’s works, Octopus seems like a unique object despite being part of an edition. Due to its high cost and small edition size, the reader is likely to encounter it in a library or an exhibit, rather than own it. The delicacy of Chen’s works create a different atmosphere than more traditionally bound artists’ books. Once Octopus is extended, the reader must change position: if it is on a table, the reader must crouch to view the content. Octopus requires the reader to bow down to it, like the auratic art that Benjamin describes. As the content and effects of Octopus show, aura is not inherent to specific unique objects, but instead is a sense of reverence evoked in the reader by the book’s value and the collecting institution’s attitudes. 
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
Get PDFWe 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
Get PDFWe 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
Visible texture: Artists\u27 books, 1960–2010
No full textArtists\u27 books combine art and/or text with an attention to the materiality and structure of the book. The genre is not defined by common appearance or content; instead, artists\u27 books are identifiable because of their self-reflexivity, whether implicit or explicit. The self-reflexivity of these works affects the way that they are read by antiabsorptively transforming linguistic text into visual and material texture. My dissertation explores the ways that self-reflexive content, materiality and form impact the experience of reading artists\u27 books with text, including Tom Phillips\u27s A Humument, Johanna Drucker\u27s From A to Z, and Emily McVarish\u27s Was Here. My project incorporates close readings of artists\u27 books, reading both the text and the book as a whole. I group artists\u27 books into five categories: visual and legible texts, illegible texts, material subjects, combinatorial structures, and non-codex bindings. In artists\u27 books, text often has visual attributes that redirect the reader\u27s attention away from the linguistic text to the visual text. Some texts border on illegibility. Yet illegibility, the condition in which materiality overwhelms content, also signifies. Works that take self-reflexive materiality as their subject, such as altered books, challenge the conventions and ontology of the book. Binding and physical form impact the way texts are read. Non-codex bindings can be combinatorial, leaving the reader to order, the text. They can also be sculptural, pushing the boundary between the book and the work of art. Artists\u27 books emphasize the differences between the conventional codex and their own interventions. Their self-reflexivity is split between their own real but unusual material forms and the idea of the conventional codex, constantly alluding to and exploring this difference. Artists\u27 books exaggerate features of the codex, reflecting the materiality, technology and reading practices of the conventional book through their imaginative lens
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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