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19th & 20th Century Group
Chris HagenahDavid Kim
Julia PankoGreg PollockArden Stern
Introduction
Chris Hagenah
19th & 20th Century Group
1. Our Process as a group
-Focus on three art movements:
a. Dada
b. Futurism
c. Surrealism
-As well as their relationships with Marxist theory
19th & 20th Century Group
2. How could we begin to think about these movements in the context of social networks?-How can we track the relationships between
documents and the social networks they emerge in, react to, influence, critique, etc?
a. Intertextualb. Interpersonal
19th & 20th Century Group
3. What we did:-Input as much data as possible about the movements (Name, Birth/Death Date, Publications, Groups, Keywords, and especially (and more vaguely, relationship types), etc.-In order to test what we would eventually hope would emerge from a wider database (including both Bibliometric and folksonomic data)
19th & 20th Century Group
4. What we wanted to avoid:-Large-scale system of absolute knowledge-Representative system (we wanted a tool-set instead)
Mapping Dadaism
David Kim
Mapping Dadaism
- User-Scenario: data drawn from course syllabus and Wikipedia entry as sources/context.
- Tristan Tzara as starting point: one of “co-founders” of dada; author of Dada Manifesto (1918); promoter of dada in Zurich, Paris, Berlin and New York.
- Manual “data-mining” of relationships and keywords in Wikipedia.
- Include both “friends” and “enemies”.
Wikipedia on Tristan Tzara
Making Connections on RoSE
Dadaism via Tzara
Berlin Dada
Arden Stern
Surrealism
Greg Pollock
Surrealism
• 1) Start with a source text on Surrealism and Marxism and see what connections it presents and what connections it suggests.
• 2) Visualize for persons to see the documents from an alternative perspective.
Source: Morning Star
Source: Morning Star
Visualization of Georges Bataille
Folksonomy
Conclusions
1) Patterns of relation types suggest different social modalities of individual persons/documents.
2) Documents and Persons are complementary but non-reducible modes of relations.
3) RoSE cultivates absent/spectral relations.4) Recurrence of outliers across visualizations
suggests areas of future research.
Concluding Thoughts
Julia Panko
Visualizations allow the researcher…
• 1. To see the density (and types) of connections within a given movement– Collaboration? People working in isolation?– Overall character of a movement: Collegial?
Hostile?
Visualizations allow the researcher…
• 2. To begin to understand relationships across movements– What Surrealism looks like…
• As opposed to what Dada looks like• Or in dialogue with Dada
Visualizations allow the researcher…
• 3. To understand genealogies by tracing connections
Inspired byInspired by
Question for the Future, #1
• What is the best way to expand our data set?– Pull from extant database?
• Problem: lack of fine-grained relationships
– Crowdsourcing?• Problem: issues of authority
– Who has the authority to decide on contentions classifications?
Wikipedia Entry for “Marcel Duchamp”:
“a French/American artist whose work is most often associated with
the Dadaist and Surrealist movements”
In the early twenties, when Paris Dada became prominent, Duchamp adopted an ambiguous stance towards the movement. On the
one hand, he was happy to engage in some Dada publicity. . . . [Yet] Duchamp was [also] distancing himself from the Paris Dada scene. . .”
Marjorie Perloff, “Dada Without Duchamp/Duchamp Without Dada”
How to ClassifyGroup
Membership?
Acquaintance
Advisee
Advisor
Apprentice
Assistant
Biographer of
ClassmateFriend
Close Friend
Collaborator
Colleague
Comrade
Critic
EnemyRival
Mentor
Partner
Family
Co-editor Inspired by
Influenced by
Industry Contact
RoSE features more than 50 relationship types
Question for the Future, #2
• What would be the best-practice method or mechanism for handling contentious classifications?