1,720,956 research outputs found
Changing public spheres – from Eastern European underground to international platforms
Get PDFThis essay explores the work of at artists from different generations who have dealt with restrained public spheres, counteracted by their work: Russian Ilya Kabakov (b. 1933), Czech Kateřina Šedá (b. 1977) and the collective digital platform Harabel in Albania. Many artists who worked within the Soviet Union were subjected to extremely demanding conditions. All the same several found ways of collaborating in collective strategies, as in the case of Ilya Kabakov, who ‘defected’ in 1989 in New York. In the west the reception of Kabakov´s art has to a large extent been reductionistic in the sense that it was initially culturally biased, tied directly to biography and nationality rather than understood as fundamentally multifaceted. Šedá’s situation is a very different one, working within a social and conceptual conception of art. She has repeatedly engaged a variety of local societies in combining city planning, daily life, politics and the private sphere in her art. In Albania a younger generation of artists has created communication networks across geographic boundaries with a main focus on digital platforms. The question the essay revolves around is the following: How does one conceive of artistic approaches to the collective in the aftermath of totalitarian systems?This essay explores the work of at artists from different generations who have dealt with restrained public spheres, counteracted by their work: Russian Ilya Kabakov (b. 1933), Czech Kateřina Šedá (b. 1977) and the collective digital platform Harabel in Albania. Many artists who worked within the Soviet Union were subjected to extremely demanding conditions. All the same several found ways of collaborating in collective strategies, as in the case of Ilya Kabakov, who ‘defected’ in 1989 in New York. In the west the reception of Kabakov´s art has to a large extent been reductionistic in the sense that it was initially culturally biased, tied directly to biography and nationality rather than understood as fundamentally multifaceted. Šedá’s situation is a very different one, working within a social and conceptual conception of art. She has repeatedly engaged a variety of local societies in combining city planning, daily life, politics and the private sphere in her art. In Albania a younger generation of artists has created communication networks across geographic boundaries with a main focus on digital platforms. The question the essay revolves around is the following: How does one conceive of artistic approaches to the collective in the aftermath of totalitarian systems
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
Changing public spheres – from Eastern European underground to international platforms
Get PDFThis essay explores the work of at artists from different generations who have dealt with restrained public spheres, counteracted by their work: Russian Ilya Kabakov (b. 1933), Czech Kateřina Šedá (b. 1977) and the collective digital platform Harabel in Albania. Many artists who worked within the Soviet Union were subjected to extremely demanding conditions. All the same several found ways of collaborating in collective strategies, as in the case of Ilya Kabakov, who ‘defected’ in 1989 in New York. In the west the reception of Kabakov´s art has to a large extent been reductionistic in the sense that it was initially culturally biased, tied directly to biography and nationality rather than understood as fundamentally multifaceted. Šedá’s situation is a very different one, working within a social and conceptual conception of art. She has repeatedly engaged a variety of local societies in combining city planning, daily life, politics and the private sphere in her art. In Albania a younger generation of artists has created communication networks across geographic boundaries with a main focus on digital platforms. The question the essay revolves around is the following: How does one conceive of artistic approaches to the collective in the aftermath of totalitarian systems?This essay explores the work of at artists from different generations who have dealt with restrained public spheres, counteracted by their work: Russian Ilya Kabakov (b. 1933), Czech Kateřina Šedá (b. 1977) and the collective digital platform Harabel in Albania. Many artists who worked within the Soviet Union were subjected to extremely demanding conditions. All the same several found ways of collaborating in collective strategies, as in the case of Ilya Kabakov, who ‘defected’ in 1989 in New York. In the west the reception of Kabakov´s art has to a large extent been reductionistic in the sense that it was initially culturally biased, tied directly to biography and nationality rather than understood as fundamentally multifaceted. Šedá’s situation is a very different one, working within a social and conceptual conception of art. She has repeatedly engaged a variety of local societies in combining city planning, daily life, politics and the private sphere in her art. In Albania a younger generation of artists has created communication networks across geographic boundaries with a main focus on digital platforms. The question the essay revolves around is the following: How does one conceive of artistic approaches to the collective in the aftermath of totalitarian systems
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
Agreement Between Seasons
No full textPlakat og utstillingskatalog. Forord ved Ellen K. Aslaksen. Tekst av Marianne Heier, "Rennende vann og ubudne gjester" / "Flowing water and uninvited guests", s. 8-11. Grafisk design: Ulf Carlsson, Paul Dring.Katalog, avgangsutstilling 2017 Master Kunst og offentlige rom, Master Medium- og materialbasert kunst.
Studenter MA Kunst og offentlige rom: Hild Borchgrevink, Kebreab Demeke, Nina Krogh, Linn Lervik, Mona Solhaug.
Studenter MA Medium- og materialbasert kunst: María Alejandra Torres Agudelo, Henrik Andresen, Franco Cortez, Lauren Davis, Mei Meng, Gabrielle Aline Paré, Pearla Pigao, Hanna Roloff, Liilian Saksi, Siri Sandell, Cathrine Finsrud Stustad, Mirjam Tho.
Visningssted: Kunsthøgskolen i Oslo. Tidspunkt: 1. juni-11. juni 2017.
Kurator: Kristine Jærn Pilgaard
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
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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