5 research outputs found
Ranking of Wikipedia articles in search engines revisited: Fair ranking for reasonable quality?
This paper aims to review the fiercely discussed question of whether the
ranking of Wikipedia articles in search engines is justified by the quality of
the articles. After an overview of current research on information quality in
Wikipedia, a summary of the extended discussion on the quality of encyclopedic
entries in general is given. On this basis, a heuristic method for evaluating
Wikipedia entries is developed and applied to Wikipedia articles that scored
highly in a search engine retrieval effectiveness test and compared with the
relevance judgment of jurors. In all search engines tested, Wikipedia results
are unanimously judged better by the jurors than other results on the
corresponding results position. Relevance judgments often roughly correspond
with the results from the heuristic evaluation. Cases in which high relevance
judgments are not in accordance with the comparatively low score from the
heuristic evaluation are interpreted as an indicator of a high degree of trust
in Wikipedia. One of the systemic shortcomings of Wikipedia lies in its
necessarily incoherent user model. A further tuning of the suggested criteria
catalogue, for instance the different weighing of the supplied criteria, could
serve as a starting point for a user model differentiated evaluation of
Wikipedia articles. Approved methods of quality evaluation of reference works
are applied to Wikipedia articles and integrated with the question of search
engine evaluation
Recommended from our members
Scholarly Electronic Publishing Bibliography: 2007 Annunal Edition
This bibliography lists citations of English-language articles, books and other printed and electronic sources that are useful in understanding scholarly electronic publishing efforts on the Internet. Most sources have been published from 1990 through 2007; however, a limited number of key sources published prior to 1990 are also included
Enrichir la pratique des pianistes classiques : la contribution du public à la construction de sens dans un récital commenté interactif
La relation entre artiste et public en musique classique est traditionnellement définie par unparadigme où le professionnel de l’art est le constructeur exclusif du sens des œuvres artistiques, et où le public reconnaît une supériorité artistique ou scientifique dans lesens transmis par le professionnel de l’art. Or, on observe dans divers domaines un changement paradigmatique oùles consommateurs revendiquentune participation accrue à la construction du sensdes produits qu’ils reçoivent. Une pratique répandue chez les pianistes classiques, celle du récital commenté, s’accorde mal à ce changement paradigmatique, car la fonction de construction de sens repose essentiellement sur l’artiste. Dans une démarche de recherche-création, et afin d’explorer les impacts d’un élargissement de la fonction de construction de sens à une coopération artiste–public dansun récital commenté, nous avons élaboré un récital commenté interactif (RCI) où le public sélectionnait le matériau textuel et musical en direct au moyen d’une application numérique. Les auditeurs devaient construire un sens cohérent à partir d’un ensemble épars d’éléments culturels,qui gravitaient autour de la figure du compositeur Léo Roy (1887–1974). Ils retraçaient ensuite, dans un sondage,le récit qu’ils avaient perçu lors du RCI. En tant qu’artiste, nousavons personnellement présenté trois RCI, à la suite desquels les auditeurs ont rempli un sondage visant à évaluer leur expérience de concert ainsi que la construction de sens qu’ils avaient opéréeau cours de l’événement.Les auditeurs étaient généralement enthousiastes à l’idée d’occuper une fonction de construction de sens plus active, bien que ceci diffère d’un individu à l’autre et se décline en une variété d’attitudes face à la coopération artiste–public. La difficulté accrue résultant d’une telle réception demande des stratégies d’adaptation conséquentes de la part de l’artiste. Notre analyse montre que celui-ci peut moduler cinq paramètres pour adapter un RCIaux habiletés depublics variésdans le but d’offrir une expérience optimale aux auditeurs: la distance conceptuelle entre les modulesdu matériau culturel, l’ajout ou le retrait de données chronologiques, la consistance de l’introduction, la présentation des liens entre les moduleset la présentation des pièces musicales. Nous avançons que cette dynamique de réception confère une pertinence accrue à une pratique des pianistes classiques en l’adaptant à un paradigme de consommation contemporain.The relation between artist and audience in classical music is traditionally defined by a paradigm in whichthe arts professional is the exclusive maker of the art work’s meaning, and where the audience recognizes an artistic or scientific authority in the meaning he receives from the arts professional.This is contrary to a paradigmatic shift that has been observed in various areas, and where consumers claim an increased control over the meaning-making of the products they consume. This leads to the realization that a favoured practice of classical pianist, the lecture-recital, is ill suited to this paradigmatic shift, since meaning-making in a lecture-recital is the sole responsibility of the artist.Using a research-creation approach, we devised in Interactive Lecture-Recital (ILR) in which the audience was responsible for selecting textual andmusical material by emitting live votes through a digital interface.Listeners therefore had to make a coherent meaning from scattered cultural elements, all of which revolved around Québécois composer Léo Roy (1887–1974).After eachof thethree ILR’s that I presented, audience members completed a survey aiming to assess their concert experience and their meaning-making at the ILR.Audience members generally welcomed enthusiastically the opportunity to play a more active meaning-making role, although individuals presented a variety of attitudes pertaining to artist–audience cooperation.This type of reception brings an increased difficulty for the spectator. This prompts an artist to use adaptation strategies, in order to enhance spectators’reception.An analysis of survey data shows five parameters that an artist can vary in order to adapt an ILR to various publics, with the goal of providing an optimal experience to audience members: conceptual distance between modulesof cultural material, addition or deletion of chronological data, completeness of the introduction, presentation of links between modules, and presentation of musical pieces. We argue that this kind of reception brings a new relevance to classical pianism, by adapting it to a contemporaryconsumption paradigm
The work of the encyclopedia in the age of electronic reproduction
Most discussion on the impact of the shift from print to electronic publishing has focused on issues like the fate of linear narrative, notions of authorship, and copyright. This article examines how the digitization of literature affects the craft of editing, and the everyday work of content producers. It focuses on the Encyclopaedia Britannica, which like all encyclopedias has been profoundly affected by the emergence of compact discs and the World Wide Web. The digitization of the encyclopedia has affected the structure of articles; it has also begun to affect the character of editorial work, the responsibilities of editors, and relations with authors, animators, and others