19th & 20th Century Group

1. 19th & 20th Century Group Chris HagenahDavid KimJulia PankoGreg PollockArden Stern

2. Introduction Chris Hagenah

3. 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

4. 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

5. 19th & 20th Century Group • 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)

6. 19th & 20th Century Group • What we wanted to avoid: -Large-scale system of absolute knowledge -Representative system (we wanted a tool-set instead)

7. Mapping Dadaism David Kim

8. 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”.

9. Wikipedia on Tristan Tzara

10. Making Connections on RoSE

11. Dadaism via Tzara

12. Berlin Dada Arden Stern

19. Surrealism Greg Pollock

20. 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.

21. Source: Morning Star

22. Source: Morning Star

23. Visualization of Georges Bataille

24. Folksonomy

25. 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.

26. Concluding Thoughts Julia Panko

27. 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?

28. 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

29. Visualizations allow the researcher… • 3. To understand genealogies by tracing connections Inspired by Inspired by

30. 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?

31. How to Classify Group Membership? 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”

32. RoSE features more than 50 relationship types Critic Rival Collaborator Enemy Advisee Partner Colleague Advisor Family Mentor Comrade Acquaintance Apprentice Friend Classmate Assistant Close Friend Industry Contact Biographer of Inspired by Co-editor Influenced by

33. Question for the Future, #2 • What would be the best-practice method or mechanism for handling contentious classifications?