1,720,956 research outputs found
Immersive creations and global scientific data : how to depict the world through the rythm of the oceans
No full textLes recherches de cette thèse s’articulent autour de la réécriture par l’art contemporain du récit techno-scientifique du 20ème siècle dominant jusqu’à présent, représentant le monde plutôt comme une ressource que comme un paysage, lieu d’émotions et territoire de subsistance. Le décloisonnement des savoirs contribue à désamorcer cette représentation dénuée d’une relation au sensible. Comment les artistes peuvent-ils partager de nouvelles façons d’être au monde, de considérer les différentes entités en jeu dans l’équilibre des écosystèmes ? Les installations-paysages proposées par certains artistes tentent de rendre sensible la simultanéité des évènements à l’échelle planétaire et de donner à voir l’interconnexion des différents phénomènes écologiques, mobilisant des savoirs de différentes disciplines. Les recherches pratiques de cette thèse s’articulent autour de quatre « opérations » de recherche et création entre le scientifique Patrice Le Gal et l’artiste, auteure de cette thèse. Sur le plan formel - la vague – et conceptuel – le pli, nous pouvons noter une évolution dans la chronologie des œuvres présentées. La description des pièces permet d’une part, d’entrevoir le processus de création mis en œuvre et les questions d’ordres esthétiques qu’il soulève - notamment sur le rapport au temps ou la place de la science dans la conception des pièces -, puis d’interroger les œuvres d’autres artistes travaillant autour de thématiques tangentes. Ce retour sur plus de dix ans de création et de collaboration entre art et science permet de comprendre la relation de réciprocité entre les deux domaines dans la création des pièces, et in fine, dans la représentation du monde.The theoretical research of this PhD focus on the rewriting, by contemporary art, of the technoscientificnarrative of the 20th century, so far dominating, which depict the world rather as a resource than as a landscape, place of emotions and territory of subsistence. Knowledge beyond disciplines helps to defuse this depiction devoid of any relation to the sensitive. How can artists share new modes of being planetary, taking into account the different entities in the balance of ecosystems? The landscape-installations proposed by some artists attempt to make sensitive the simultaneity of events on a planetary scale and to show the interconnection of different ecological phenomena, mobilizing knowledge from different disciplines.The practice-based research of this PhD is organized around four research and creation"operations" between scientist Patrice Le Gal and the artist, author of this thesis. As a matter of shape - the wave - and of the concept - the fold - we can notice an evolution in the chronology of the featured works.The description of the produced pieces allows, on one hand, to glimpse the creative process set up and the aesthetic questions that it raises - in particular on the relationship to time or the place of science in the design of the pieces -, on the other hand, to question the other artists’ pieces working with tangent themes.This review of more than ten years of creation and collaboration between art and science allows us to understand the reciprocal relationship between the two fields in the creation of the featured pieces, and in fine, in the depiction of the world
Sur le bauhaus lab marseille
No full textLe bauhaus lab est un réseau international de laboratoires interdisciplinaires né d’un appel à projet lancé en 2007 par la ville de Weimar en Allemagne pour commémorer les 90 ans de la naissance du Bauhaus en 1929. C’est l’association émaho qui a organisé le bauhaus lab marseille, en référence au séjour de László Moholy-Nagy en 1929 dans la ville‚ où il tourna son premier film expérimental Marseille – Impressions du Vieux-Port. Il s’agissait de réaliser un objet architectural qui puisse accueillir une résidence d’artistes internationale et devenir par la suite un lieu d’exposition modulaire dans la ville de Marseille. Conférences et ateliers de création ont permis d’exploiter l’originalité du concept des « Coffres à jouer » proposé par le cabinet d’architecture Juste Le Cabinet‚ deux coffres modulables qui contenaient les éléments nécessaires au bon déroulement des activités. Ils ont été pris au sens propre par les artistes, comme une invitation au divertissement et à la désobéissance. Et c’est le « mythe de Marseille » dans sa diversité qui s’est trouvé réinterprété dans leurs créations. À Marseille‚ ville en perpétuelle mutation mais qui n’arrive jamais à créer un changement substantiel d’atmosphère ni de mentalité‚ le mythe est plus fort que la réalité.The bauhaus lab is an international network of interdisciplinary laboratories which arose from a call for projects launched in 2007 by the city of Weimar in Germany to commemorate the 90th anniversary of the birth of the Bauhaus in 1929. The association émaho organized the bauhaus lab marseille‚ which was inspired by László Moholy-Nagy’s journey to Marseille in 1929‚ where he filmed his experimental film Marseille – Impressions of the Old Harbour of Marseille. This was the starting point for international artists to create a piece of architecture during their art residency which would then become a polymorphic space for exhibitions in the city of Marseille. Lectures and multi-media workshops have shown the uniqueness of the “Coffres à jouer” designed by the architectural firm Juste Le Cabinet‚ which consist of two modular boxes containing all that the artists needed for their work and which they took literally as an invitation to play and to disobey. The “myth of Marseille” in all its diversity is found reinterpreted in their creations. Even though the city is in perpetual mutation‚ the reality of the atmosphere or mindset of Marseille hardly ever changes. If reality and myth merge in Marseille‚ the myth remains stronger
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
Explorer un secteur pluriel (définitions, mutations, porosité)
No full textTable ronde de la journée d'accélération de l'ICCARE-LABn Arts visuels et arts numériques : quels enjeux à partager pour quels changements à impulser
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
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