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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
Practices of relations in task-dance and the event-score : towards a new concept of performance in art
Get PDFThe main aim of theis thesis is to construct a critical concept of performance within a generic concept of art through a two-fold operation. Firstly, it reconstructs the development of a generic concept of performance - distinct from the performing arts - in the period of post-WWII art in North America by focusing on task-dance and the event-score as two emblematic artistic strategies of this period. Task-dance and event-score practices, it argues, had a central role in the practical transformation from a medium-specific to a generic concept of art. Secondly it examines the key philosophical concepts that are inseparable from a generic concept of art, and are necessary for the reconstruction of a generic concept of performance: 'practice', 'labour', 'autonomy', 'abstraction', 'medium', 'mediation', 'subject', 'object', 'structure' and 'abstraction'.
The central argument of the thesis is that a critical reconstruction of the concept of performance within the context of post-WWII art must take into account a generic and a autonomous concept of art. The latter refers to a post-medium-specific concept of art, which is still autonomous in Theodor Adorno's understanding of the term: art as derived from, yet distinctively and formally separated from empirical reality. Embedded but formally abstracted from the social relations from which it comes, the category of 'performance', the thesis argues, is a practice of relations. It is a practice in the sensein which Karl Marx formulates practice in his early writings as social and sensuously empirical. It also refers to practice in the sense in which Marx articulates a radically new concept of the subject through this category.
The thesis also aims to make a contribution to art theory through its critical methodology. It forces a reconsideration of performance within the framework of 'art in general', and more specifically, it emphasises dance's central role in this history. It employs a number of terms and categories central to task-dance and event-score practices that, it argues, are internal to the generic category performance as it operates within the context of a generic concept of art.
The central problem from which this thesis sets out concerns the way in which the dominating concept of performance - derived from cultural theory - is used within art theory. Cutting across disciplines such as Cultural Studies, Performance Studies and Theatre Studies, this conception fails to distinguish between art and culture more generally, and between art and other modes of reality. In short, the thesis confronts a cultural concept of performance - and the related category of performativity - as well as its application to performance practices in art, with a critical one that is reconstructed through a different set of philosophical categories and methods.
Chapter 1 argues that the development of a generic concept of art and performance is best described as a shift towards practice, primarily through Marx's account of this. Chapter 2 confronts art-theoretical conceptions of the event-score and task-dance, based in structuralism and pragmatism with Immanuel Kant, and demostrates how John Dewey;s notion of art relies on a conflated notion of Aristotle's practice/poiesis-distinction. Drawing on Husserl's 'phenomenological reduction' and Kant's 'acts of abstraction', Chapter 3 argues that they negation of a medium-specific conception of the object in event-score and task-dance practices constructed a new conception of the art object: the performative structure-object. Chapter 4 considers the role of negation in task-dance, in relation to Adorno's concept of autonomous art and Marx's notion of abstract labour. Chapter 5 demonstrates the way in which the performative-structure object is transcendental and performative, and argues that it must be understood as the practical condition for the generalisation of the category of performance within art
Kritinis šokis šiuolaikiniame mene: darbas, prekė ir vertė Alexandros Pirici Santykių enciklopedijoje
No full textSince the early 2000s, dance has increasingly been presented within contemporary art exhibitions. Whereas some have interpreted this trend primarily as a symptom of capitalism’s tightening grip on art and its institutions, this article argues for understanding dance in the exhibition space as a novel critical artistic form. It does so by drawing on a long tradition—from Baudelaire and Benjamin to John Roberts and Sianne Ngai—that views art as in a dialectical relationship with capitalism, and thus with categories such as commodification, labour, and value. Departing from Marx’s concept of value as a specific historical social form, and from what Patrick Murray has described as “practically abstract labour,” the article argues: a) that dance in art exhibitions should be understood dialectically in relation to the commodity form; b) that this specific status must be mediated through each dance work’s particular artistic form; and c) that this does not exclude the possibility that dance works presented in contemporary art exhibitions may still contribute to an experience-based capitalist economy, or that the labour conditions of the dancers may be questioned.Nuo XXI a. pradžios Vakarų pasaulyje šiuolaikinis šokis ir performansas vis dažniau pristatomi šiuolaikinio meno parodose: didžiosiose institucijose, tokiose kaip MoMA ir „Tate Modern“, tarptautinėse bienalėse – pavyzdžiui, Venecijos bienalėje – bei mažesnėse galerijose, tokiose kaip „Raven Row“ Londone ar „Index Gallery“ Stokholme. Kai kurie kritikai šią tendenciją vertina kaip platesnio meno pasaulio įsitraukimo į kapitalistines rinkas, ypač į renginių ir patirčių ekonomiką, simptomą.
Straipsnio autorė ginčija tokias interpretacijas ir teigia, kad šokio pristatymas parodų erdvėse – tai nauja kritinė meninė forma, kurios šaknys siekia XX a. 3 deš. ir moderniojo šokio atsiradimą (pvz., Loïe Fuller, Martha Graham, Mary Wigman). Šią liniją tęsia minimalistinis 7 deš. šokis (pvz., Merce Cunningham, Yvonne Rainer, Trisha Brown) ir toliau formuoja 10 deš. Europos kritinio šokio tradicija (pvz., Xavier Le Roy, La Ribot, Jérôme Bel). Remdamasi šia tradicija, ji siūlo pastaruosius du dešimtmečius traktuoti kaip kritinio šokio šiuolaikiniame mene (kaip šiuolaikinis menas) reiškinį, suvokiamą kaip nauja kritinė šiuolaikinio meno forma.
Autorė pasitelkia plačią intelektinę tradiciją – nuo istorinių mąstytojų, tokių kaip Charles’is Baudelaire’as ir Walteris Benjaminas, iki šiuolaikinių teoretikų, pavyzdžiui, Sianne Ngai ir Johnas Robertsas, kurie meną apmąsto per dialektinį santykį su kapitalizmu ir tokiomis sąvokomis kaip komodifikacija, darbas ir vertė. Analizė grindžiama Karlo Marxo vertės formos teorija, suprantama kaip specifinė kapitalizmo istorinė socialinė forma, ir ekonomisto bei filosofo Patricko Murray’aus „praktiškai abstraktaus darbo“ sąvoka. Remiantis šiuo teoriniu pagrindu teigiama, kad: a) šokis meno parodose turi būti suvokiamas dialektiškai, per santykį su prekės forma; b) ši būsena privalo būti perteikiama per kiekvieno šokio kūrinio specifinę meninę formą; c) nors išlieka galimybė, kad tokie kūriniai gali prisidėti prie patirčių ekonomikos, tai nereiškia, kad šokėjų darbo sąlygas reikia palikti be aptarimo.
Straipsnyje pagrindiniu pavyzdžiu pasitelkiama Rumunijos menininkė Alexandra Pirici, daugelį metų pristatanti tai, ką pati vadina „nenutrūkstamais veiksmais“ (ongoing actions), eksponuojamais parodų erdvėse. Dėmesys sutelkiamas į konkretų darbą – Santykių enciklopediją (Encyclopedia of Relations), pristatytą 2022 m. Venecijos bienalės Sapnų pienas (The Milk of Dreams) pagrindinėje ekspozicijoje. Šiame kūrinyje Pirici nagrinėja dvi abstrakcijos formas ir perkelia jas į judesiu grindžiamą praktiką: pirma, mokslines ir enciklopedines žinias kaip santykinę abstrakciją; antra, vertės abstrakciją per socialinius santykius. Šių dviejų dimensijų jungtis sukuria kritinę formą, kuri tuo pat metu yra ir menas, ir šokis parodos erdvėje
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
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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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