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The Learning Theatre
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The flyer-set (1HEX) relates 5 situations—a biennale, 3 projects and a journey—to develop notions of the Learning Theatre from a case-base: what are the conditions of readability which makes it possible to pick up on (intercept) emergence under immersive conditions (positioned and situated in Donna Haraway’s sense)? Credits for the visual materials to Studio ^O^, Amphibious Trilogies and Ludvig Uhlbors.draf
Automatikk
No full textData-sett (1 HEX) m/6 elementer: 1) forsøk; 2) prøv igjen; 3) gjør noe annet; 4) kom tilbake; 5) avlær; 6) kryss over.[WALKABOUT: click file NAVIGATION EXHIBIT]
En serie som—i 6 trinn—utforsker automatikk som prosedyrer for selvets (auto-) minner (-matikk). Altså, å sondre i menneskelige praksiser som forvalter og holder automatikken, i ordets alminnelige betydning. Det ikke mekaniske/menneskelige aspektet ved automatikk. Dette skjer på bakgrunn av et prosjektsamarbeid med studio ^o^ og danseren Brynjar Bandlien (PhD), rundt et performance-installasjons prosjekt ved Henie Onstad Kunstsenter høsten 2020 (kulturråd-støttet). Drøftingen av samarbeidet mellom de to partnerne skjer på bakteppet av filosofien til B. Spinoza. Serien tar for seg forholdet mellom skrift og tegning, dansebevegelse og nåtid (H. Bergson). Den gir også anledning til et case-basert studium av et spesifikt trekant-forhold m/tredje part som landmåler/geometer. Befaringen tar for seg aspekter ved Nicholas de Cusa’s hellige geometri
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Get PDFMDE 551 | Theory 3—Synthesis
The course materials posted here features a track record of pilot-course in theory, based on two principles: 1) Theory 3 is a logical concluding step from two previous theory courses [Theory 1 and Theory 2]; 2) it differs from the two preceding courses in that it involves the specialised staff, who have participated in establishing the framework, and contributed with tutorials in due course.
It also differs from the two previous theory-courses in that it is a final course, and that a resource (Prof. Bojana Cvejic, Dance) is brought in to insure 3rd party readability of the theory-assignments, submitted by the students at the end of the course, and to assess the assignments based on criteria that are established and submitted in the students’ final oral presentations.
The oral sessions thereby have the specific function, which is for the students to appropriate the learning-outcomes from having submitted their theory assignments, in the framework of their professional practice (with, at the horizon, their final practical projects for the MA in the spring). Though the theory-assignments are consistent in themselves, they are dovetailed to the MA.
This arrangement is catering to the different needs of our 3 specialisations—interior architecture & furniture design (IM), fashion & costume design (KK), graphic design & illustration (GI)—as well as to the needs of the students that have been working in trans disciplinary studios (groups of 3-4) to distill their needs before tutorials in the 5 weeks they have been working on their theory-assignments.
The course has been subdivided into 4 phases: a) a 2-week phase of looking into logged documentary materials that the students have gathered during 3 terms at school; b) a 1-week phase for experimental writing and composition ending up with a plan for the assignment; c) a 2-week phase for completing the assignments; d) one for preparing and giving oral presentations.
During the 5 first weeks the students have been having tutorials by zoom, on walks and in rooms at a Corona-safe distance. In the general tutorials, the students have been enjoined to prompt their theory topics with specific narratives, then draw up the cluster to topics constituting materials for a pro/con discussion, entering the core topic thus defined, claiming ownership.
The latter topic—ownership—has been central to this course for several reasons. Firstly, because to hand on a delivery is meaningful only if ownership has been claimed. Secondly, because using the theory assignment seeking to develop precision in ownership, is a key both the practical fruitfulness of the theory-assignment, and to hatching the ‘professional person’ at an MA-level.
The course has also sought tentatively to define a bridge between theory development (developing theory from practice, a well-timed conversation with researched references) and artistic research, by adding the element of criticality introduced by Maria Puig de la Bella Casa in Matters of Care (2017): thinking WITH, dissenting WITHIN and thinking FOR a field of research.
Essentially, the development of a form for the assignment is to reflect the theoretical substance that the students have been working on, which means that the visual and interactive formats used by the students to develop and make their points, is for each student to define. The tutorials offered to the students have been planned to support this process, and is reflected in the orals.
The students have been asked to deliver: 0) an oral presentation; 1) a letter of presentation in English [1A4 page]; 2) a theory-piece with references in APA7th [kildekompasset.no] Google translation was provided whenever the original piece was written in Norwegian; 3) a synthesis written by the course leader; 4) a sheet with assessment criteria, based on their preparations for the oral presentations [1A4 page]. The oral presentations are organised by specialisation, and the specialisation partake of the oral discussions.
The assessment of the theory assignment is done by Profs. Bojana Cvejic and Theodor Barth, based on criteria set in the context of oral presentations. The student also present a sheet with assessment criteria. The students receive each a written comment based on the theory assignment and the oral presentations. The assignments will be uploaded here on KHiODA.
The students’ files are zipped into their respektive studios, to avoid internet-trolling and to vouchsafe a real interest for the materials, to go in an read. Thereby creating access conditions similar to a physical library. By virtue of being presented in a public setting of a final course, the contributions are considered as de facto published.
[WALKABOUT: click file NAVIGATION EXHIBIT
MDE 551 | Theory 3—Synthesis
No full textMDE 551 | Theory 3—Synthesis
The course materials posted here features a track record of pilot-course in theory, based on two principles: 1) Theory 3 is a logical concluding step from two previous theory courses [Theory 1 and Theory 2]; 2) it differs from the two preceding courses in that it involves the specialised staff, who have participated in establishing the framework, and contributed with tutorials in due course.
It also differs from the two previous theory-courses in that it is a final course, and that a resource (Prof. Bojana Cvejic, Dance) is brought in to insure 3rd party readability of the theory-assignments, submitted by the students at the end of the course, and to assess the assignments based on criteria that are established and submitted in the students’ final oral presentations.
The oral sessions thereby have the specific function, which is for the students to appropriate the learning-outcomes from having submitted their theory assignments, in the framework of their professional practice (with, at the horizon, their final practical projects for the MA in the spring). Though the theory-assignments are consistent in themselves, they are dovetailed with the MA.
This arrangement is catering to the different needs of our 3 specialisations—interior architecture & furniture design, fashion & costume design, graphic design & illustration—as well as to the needs of the students that have been working in trans disciplinary studios (groups of 3-4) to distill their needs before tutorials in the 5 weeks they have been working on their theory-assignments.
The course has been subdivided into 4 phases: a) a 2-week phase of looking into logged documentary materials that the students have gathered during 3 terms at school; b) a 1-week phase for experimental writing and composition ending up with a plan for the assignment; c) a 2-week phase for completing the assignments; d) one for preparing and giving oral presentations.
During the 5 first weeks the students have been having tutorials on zoom, during walks and in rooms at a Corona safe distance. In the general tutorials, the students have been enjoined to prompt their theory topics with specific narratives, then draw up the cluster to topics constituting materials for a pro/con discussion, entering the core topic thus defined, claiming ownership.
The latter topic—ownership—has been central to this course for several reasons. Firstly, because to hand on a delivery is meaningful only if ownership has been claimed. Secondly, because using the theory assignment seeking to develop precision in ownership, is a key both the practical fruitfulness of the theory-assignment, and to hatching the professional person at an MA-level.
The course has also sought tentatively to define a bridge between theory development (developing theory from practice, a well-timed conversation with researched references) and artistic research, by adding the element of criticality introduced by Maria Puig de la Bella Casa in Matters of Care (2017): thinking WITH, dissenting WITHIN and thinking FOR a field of research.
Essentially, the development of a form for the assignment is to reflect the theoretical substance that the students have been working on, which means that the visual and interactive formats used by the students to develop and make their points, is for each student to define. The tutorials offered to the students have been planned to support this process, and is reflected in the orals.
The students have been asked to deliver: 1) a theory assignment with references in APA7th [kildekompasset.no]; 2) a letter of presentation in English [1A4 page]; 3) an oral presentation; 4) a sheet with assessment criteria, based on their preparations for the oral presentations [1A4 page]. The oral presentations are organised by specialisation, they partake of the oral discussion.
The assessment of the theory assignment is done by Profs. Bojana Cvejic and Theodor Barth, based on criteria set in the context of oral presentations. The student also present a sheet with assessment criteria. The students receive each a written comment based on the theory assignment and the oral presentations. The assignments will be uploaded here on KHiODA
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
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