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?