The e-ROSA project seeks to build a shared vision of a future sustainable e-infrastructure for research and education in agriculture in order to promote Open Science in this field and as such contribute to addressing related societal challenges. In order to achieve this goal, e-ROSA’s first objective is to bring together the relevant scientific communities and stakeholders and engage them in the process of coelaboration of an ambitious, practical roadmap that provides the basis for the design and implementation of such an e-infrastructure in the years to come.
This website highlights the results of a bibliometric analysis conducted at a global scale in order to identify key scientists and associated research performing organisations (e.g. public research institutes, universities, Research & Development departments of private companies) that work in the field of agricultural data sources and services. If you have any comment or feedback on the bibliometric study, please use the online form.
You can access and play with the graphs:
- Evolution of the number of publications between 2005 and 2015
- Map of most publishing countries between 2005 and 2015
- Network of country collaborations
- Network of institutional collaborations (+10 publications)
- Network of keywords relating to data - Link
Forward, Ever Forward: a reading of Robert Harris, Photographic Album of South African Scenery, Port Elizabeth, c.1880-1886
Early copies of the Photographic Album of South African Scenery that was published between c. 1880 and c. 1888 by Robert Harris in Port Elizabeth consisted of 28 double-card pages with two, occasionally one, tipped-in photographs per page. During the near-decade of its production, the number of images increased, printed captions replaced handwritten captions and both the selection and arrangement of images became gradually more coherent and programmatic. The paper interprets these changes as Robert Harris's attempt to construct a public identity for South Africa at the moment its economy and society were being transformed by the diamond mines at Kimberley and elsewhere that constitute the focus of the later form of the form Album. In the developed form of the Album, a narrative progression is suggested to move from Cape Town and the Western Province, to Port Elizabeth and the Eastern Province, to the Kimberley Diamond Fields, Natal, etc. In order to read this journey critically, the paper is arranged to demonstrate the constituent parts of this journey in the representation of cities and towns, laid out in grid plans on the African veld; the depiction of individual buildings with their expressive vocabulary of architectural style; and the idea of commerce-represented in street scenes, markets and seaports - and the facilitation of commerce through roads, bridges and mountain passes. The disproportionately large number of photographs of Kimberley, with both its mining operations and no less than three commercial markets, underlines the significance of commerce and industry in the new South African identity. The emphasis on commercial achievement in the Album leaves an obviously subordinate role for images of nature in both agriculture and landscape. Farming is represented through such exploitative practices as forest clearing and hunting, rather than the developed forms of agriculture of wine farming, sheep farming and wheat farming. And landscape in the Album is either a landscape subdued to the wants and needs of a settler population that would bludgeon its way through mountain passes or divert the course of rivers to facilitate commerce, or a landscape that is defined by the imported aesthetic conventions of the picturesque and sublime. Similarly, grouping the photographs of indigenous peoples that are scattered throughout the Album, one may see that their representation is entirely instrumental, divided crudely into roles of either war-like barbarians or pliant labourers. In these ways, the Photographic Album may be understood as a true mirror of the colonial achievement.
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