1,720,957 research outputs found
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
TAPPING THE "UNTAPPED RESOURCE": HOW TWENTIETH-CENTURY INDUSTRIAL PRIORITIES HAVE SHAPED CONTEMPORARY NEW MEDIA ART PRACTICES
No full textContemporary artists using emerging technologies in their work are often positioned as innovators, mavericks, and diagnosticians, who work “outside” of the tech industry and thus bring sorely needed perspective to its developments. However, viewing new media artists as fully independent actors, devoid of any connection to industrial and corporate aims, serves to eclipse the long-standing and substantial ties that the field has to the protocols and priorities of the mainstream technology industry. These, in fact, have existed for as long as artists have attempted to integrate computation, electronics, networking, or other high-tech components into their work—both when these tools are owned and operated by corporations, but also in more diffuse, ideological ways.
This contribution, which draws from my larger dissertation work, traces the evolution of the cultural imaginary surrounding new media artists, defined in my research as practitioners who expand, reinvent, or misuse technological expression. By explicitly placing archives from three twentieth century “art and technology” initiatives against interviews with new media artists and cultural workers I conducted in the present day, I emphasize the foundational connections that new media artists have to industrial practices—and argue that this relationship can be traced back to the first attempts to place artists into collaborations with industry. As a result, industrial mandates have, to a large degree, shaped the popular conception of the new media art field, guiding both the practicalities of working with digital systems as well as notions of what artists “should” be doing with their work
“THIS ISN'T A PICASSO, IT'S A FERRARI”: PRESENTISM, PRECARITY AND DEPENDENCE IN NEW MEDIA ART PRACTICES
No full textNew media artists—and, more broadly, those who consider themselves to
be “creative” technologists—increasingly find themselves questioning whether or not to use
tools that are owned or administered by companies that engage in activity that they consider
to be problematic, such as surveillance, cooperation with discriminatory law enforcement
practices, or toxic work cultures. However, it is difficult to conceive of a tech-based art
practice that functions without utilizing $2 of the dominant technologies that we find
ourselves surrounded by on a regular basis. As a result, artists who work with technology
are inevitably thrust into perpetually shifting situations or environments, controlled by
the tech industry, which then directly impact the creation of their work; its longevity;
and, often, their own perceptions of it. This paper represents the beginnings of an
investigation into the relationships between new media artists, the tools they use for their
work (including data sources and APIs, hardware and software, operating systems, and project
storage), and those who control these technologies. I seek to portray this creative
community as one that exists in a state of constant uncertainty, and that finds itself in
this position at the behest of the interests of the tech industry—which both uses artists’
work as a way of positioning itself as cutting-edge and original, and as a means of locating
potential sites of intentional misuse and subversion. Artists are thus forced to constantly
adapt their processes to the demands of those who control the technology, ultimately
reinforcing the authority of these dominant systems
Proclamations and paraphernalia: #Bellwether, editor’s notes, and the art of remixing the political document
Get PDFIn 2016 I created an installation entitled #Bellwether, which was a visual exploration of social media content surrounding the 2016 United States presidential primaries, focused specifically on voters in Ohio. Over the course of a year, I collected more than 14 million public Twitter posts that referenced the candidates by name, and repurposed the design of their campaign merchandise to reflect voter sentiment, replacing the curated messaging that they were pushing into the political sphere. After the election, I collected public data from Trump’s administration—including tweets from the @realDonaldTrump account, executive orders and memoranda and transcripts of interviews and news conferences—and edited the text of the US Constitution from his perspective, using the data to justify changes I made to the original text. I presented the final work in the form of a Presidential Executive Order, mirroring everything from typography to paper choices to the leather holders in which Executive Orders are publicly presented after signing. This creative study explores the lessons learned from these two projects; specifically, I examine the appropriation of political design and its signifiers. I argue that by manipulating and subverting this visual language, the work attempts to counter monolithic narratives perpetuated by dominant political systems, while illuminating the effects of media, technology and the Internet on our perceptions of the government and those who serve in it. By employing alternate historical narratives, the speculative nature of these works also offers a way of imagining a more nuanced approach to current political analysis and meaning-making.Made available in DSpace on 2022-01-04T02:35:45Z (GMT). No. of bitstreams: 2
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Previous issue date: 2021-0
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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