Transcript 19th-20th Century Group Presentation

19th & 20th Century Group
Chris Hagenah
David Kim
Julia Panko
Greg Pollock
Arden 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. Intertextual
b. 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 toolset 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 by
Inspired 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
How to Classify
Group
Membership?
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”
RoSE features more than 50 relationship types
Critic
Enemy
Rival
Advisee
Colleague
Family
Advisor
Mentor
Acquaintance
Classmate
Industry Contact
Apprentice
Assistant
Collaborator
Partner
Comrade
Friend
Close Friend
Biographer of
Co-editor
Inspired by
Influenced by
Question for the Future, #2
• What would be the best-practice method or
mechanism for handling contentious
classifications?