1,720,977 research outputs found
Excavations at Hierakonpolis
No full textFriedman Renée Frances, Watrall Ethan, Jones Jana, Fahmy Ahmed G., Van Neer Wim, Linseele Veerle. Excavations at Hierakonpolis. In: Archéo-Nil. Revue de la société pour l'étude des cultures prépharaoniques de la vallée du Nil, n°12, 2002. Actualité de la recherche prédynastique : les terrains de fouilles. 1-La Haute-Egypte et les déserts. pp. 55-68
Engaging with landscape topography: visualization, depiction, and interpretation in (digital) reality
No full textNo abstract available
Poor relatives or favorite uncles? Cyberinfrastructure and Web 2.0. A critical comparison for archaeological research.
No full textPoor relatives or favorite uncles? Cyberinfrastructure and Web 2.0. A critical comparison for archaeological research.
No full text
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
Fiberspace
No full textThe histories of the fabric arts and of digital technology have been woven together since the early nineteenth century when Ada, Countess of Lovelace, wrote of the use of the punchcards from the Jacquard weaving loom in the programming of Charles Babbage's proto-computer, the Analytical Engine, as `weaving' numbers and programming. Unsurprisingly, the histories of textiles and the digital are woven together even more tightly in the Digital Age. Today, digital quilts and other digital material culture produced in virtual worlds and online computer games raise profound questions for the future of museum practice and object-based academic disciplines. Digital sewing `computers' and websites such as the Quilt Index are shaping quilt history as it happens. This dissertation theorizes quilting, sewing and other fabric arts through the lens of (digital) technology. In this dissertation, I explore the ways in which technology has shaped the fabric arts, and how the fabric arts have shaped technology, from the Luddites to Ada Lovelace. I also examine the impact of the introduction of the sewing machine into the home, the Arts and Crafts Movement and the tension between machine and hand quilting, the decline of hand sewing skills, the use of quilts in research into artificial intelligence, the so-called `sewing computer' and the future of the networked quilter as humachine, and crafted objects in computer games and virtual worlds. I also investigate parallels between the political and philosophical tenets of Web 2.0 and the folk art and quilting ethos through such topics as participatory culture, open source, collective knowledge, collaboration and fair use.Thesis (Ph. D.)--Michigan State University. American Studies, 2011Includes bibliographical references (pages 212-228
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
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