Two-layer classification and distinguished representations of users and documents for grouping and authorship identification

Most studies on authorship identification reported a drop in the identification result when the number of authors exceeds 20-25. In this paper, we introduce a new user representation to address this problem and split classification across two layers. There are at least 3 novelties in this paper. First, the two-layer approach allows applying authorship identification over larger number of authors (tested over 100 authors), and it is extendable. The authors are divided into groups that contain smaller number of authors. Given an anonymous document, the primary layer detects the group to which the document belongs. Then, the secondary layer determines the particular author inside the selected group. In order to extract the groups linking similar authors, clustering is applied over users rather than documents. Hence, the second novelty of this paper is introducing a new user representation that is different from document representation. Without the proposed user representation, the clustering over documents will result in documents of author(s) distributed over several clusters, instead of a single cluster membership for each author. Third, the extracted clusters are descriptive and meaningful of their users as the dimensions have psychological backgrounds. For authorship identification, the documents are labelled with the extracted groups and fed into machine learning to build classification models that predicts the group and author of a given document. The results show that the documents are highly correlated with the extracted corresponding groups, and the proposed model can be accurately trained to determine the group and the author identity

Identity in research infrastructure and scientific communication: Report from the 1st IRISC workshop, Helsinki Sep 12-13, 2011

Motivation for the IRISC workshop came from the observation that identity and digital identification are increasingly important factors in modern scientific research, especially with the now near-ubiquitous use of the Internet as a global medium for dissemination and debate of scientific knowledge and data, and as a platform for scientific collaborations and large-scale e-science activities.

The 1 1/2 day IRISC2011 workshop sought to explore a series of interrelated topics under two main themes: i) unambiguously identifying authors/creators & attributing their scholarly works, and ii) individual identification and access management in the context of identity federations. Specific aims of the workshop included:

• Raising overall awareness of key technical and non-technical challenges, opportunities and developments.
• Facilitating a dialogue, cross-pollination of ideas, collaboration and coordination between diverse – and largely unconnected – communities.
• Identifying & discussing existing/emerging technologies, best practices and requirements for researcher identification.

This report provides background information on key identification-related concepts & projects, describes workshop proceedings and summarizes key workshop findings

Facing human rights attributes of copyright in Europe in the context of the EU Digital Single Market

The principle of equality as a fundamental norm in law and political philosophy, Jurysprudencja 8., Wojciechowski B., Bekrycht T., Cern K.M., (eds.), Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2017The project was financed by National Science Centre Poland (decision no. DEC-2012/05/B/HS5/01111)

Introduction: Legal Form and Cultural Symbol – Music, Copyright and Information Studies

Writers in information and communication studies often assume the stability of objects under investigation: network nodes, databases, information. Legal writers in the intellectual property tradition often assume that cultural artefacts exist as objects prior to being governed by copyright law. Both assumptions are fallacious. This introduction conceptualises the relationship of legal form and cultural symbol. Starting from an understanding of copyright law as part of systems of production (in the sense of Peterson 1976), it is argued that copyright law constructs the artefacts it seeks to regulate as objects that can be bought and sold. In doing so, the legal and aesthetic logic of cultural symbols may clash, as in the case of digital music (the central focus of this special issue)

Creative identity theft: issues for artists in collaborative online environments

This paper discusses the qualities of online activity in relation to what is 'new' in 'new media', and examines both the continued use of the technologies by artists to simply redress long standing disputes with the distribution models and editorial practices of 'old media' and the tensions created by encounters with the characteristics of the Internet as a new space for art. It then seeks to identify the features of new technologies that distinguish them from 'old media', principally the opportunities for interaction in real time, for collaboration, of skill sharing, of a wider audience that encounters work for reasons other than the contemplation of artistic work and the nature of proprietary technologies in themselves. These latter have rarely been developed specifically for artists, and often reflect the values and aims of the companies that generate them, presenting ethical and creative problems for artists who use them. The paper draws on research at the Visualisation Research Unit (VRU) at the School of Art, Birmingham City University, and its collaboration with Eastside Projects, a new gallery located in Birmingham, on the Arts Council funded project 'EP:VV' (Eastside Projects: Virtual & Visualized)

Some considerations on research dissemination with particular reference to the audience and the authorship of papers.

Original article can be found at : http://www.informaworld.com/This paper suggests that some refinements might need to be considered to current codes of ethics for dissemination of research. The growth of research in music education over the last decade is reviewed, with examples from new journals, conferences and professional associations. It is argued that nowadays researchers have to address a multidisciplinary number of audiences and this should be taken into account in the regulations for conferences and publications with the incorporation of guidelines for contributors to address their specific audience and to explain any previous dissemination. The authorship of papers is also considered, in particular issues arising from multiple authorship, as well as the research participants' contribution to the final report. Some of these issues are discussed with reference to studies focussed on a particular topic (creativity in music education) within the context of music education research, but it is acknowledged that the discussion also applies to other fields of the humanities and social sciences.Peer reviewe

Co-authorship in the age of cyberculture: Open Educational Resources at the Open University of the United Kingdom

Locating Open Educational Resources (OER) as a phenomenon of cyberculture, this paper presents a reflection on the possibilities of co-authorship that are entailed in OER initiatives of different natures and settings within a large organisation. A selection of OER-related projects and activities carried out at the Open University of United Kingdom (UKOU) are examined from the perspective of a comparative framework proposed by Okada (2010). The framework identifies key features and differences between ‘Closed’ and ‘Open’ Education, that is, respectively, formal education, which takes place within the constraints of institutional Virtual Learning Environments, and informal education, which is gradually taking place more widely in cyberspace. The paper is introduced with a succinct discussion of the connection between cyberculture and the emergence of OER, followed by a presentation of the comparative framework adopted. The UKOU´s structure and methods are then presented, and various projects are discussed. The article concludes by proposing a brief commentary on the creative potential that is being unleashed at the very boundaries between formal and informal educational spaces that cyberculture is challenging

Value proposition as a framework for value co-creation in crowd-funding ecosystem

The present paper suggests that crowd-funding in the arts and cultural sector occurs within a complex service ecosystem, where six categories of value propositions frame eight value co-creation processes, namely through ideation, evaluation, design, testing, launch, financing and authorship. Managerial contributions include the development of a crowd-funding service ecosystem model for arts managers, which offers not only a method of financing or economic value, but which also offers opportunities for strengthening bonds with customers and other stakeholders. Our paper is innovative in that we integrate value propositions categories with the micro – meso and macro contexts and analyse the different kind of co-creation are framed in the crowdfunding contextUniversidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Positive Copyright and Open Content Licences: How to Make a Marriage Work by Empowering Authors to Disseminate Their Creations

Positive copyright appears to have been progressively turned away from its normative function of ensuring a fair and efficient transmission of human knowledge. The private sector is seeking to counterbalance this phenomenon by adopting legal tools that expand the public domain of knowledge, such as web-based licences modelled on the "open access" approach. The increasing world-wide preference for Creative Commons licences confirms their aptness to transform copyright law into a tool flexible enough to serve authors' several purposes. Such a spontaneous counterbalance experiences many difficulties though, because of the structure that positive copyright has adopted over the last few years. The current situation is an excellent point from which to look back at how authors used to disseminate their works before the advent of the Internet. From a historical view-point copyright has always accomplished the twin functions of economically rewarding authors and enabling communication of their creations to the public. The latter goal is achieved by means of statutory mechanisms limiting the freedom of contract between authors and their counterparts (intermediaries in a broad sense), in order to enforce the authors' capacity to spread their works. In the current digital environment, however, these mechanisms are not likely to accomplish their original functions. This paper seeks to explore an adjustment that will permit authors to take advantage of all the new means of commercial exploitation and non-commercial dissemination of their works offered by the Internet. Such an adjustment aims also at realigning positive and normative copyright by encompassing the use of open content licensing within the current copyright framework