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Knowing What We Know

Knowing What We Know. An Ethnographer Looks at SNA John McCreery Sunbelt, March 2012. The Goal. To better understand the relationship between social network analysis (SNA) and historical and ethnographic research (HER). Archival Data. Desk Research. SNA. Interviews. A Work in Progress.

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Knowing What We Know

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  1. Knowing What We Know • An Ethnographer Looks at SNA • John McCreery • Sunbelt, March 2012

  2. The Goal • To better understand the relationship between social network analysis (SNA) and historical and ethnographic research (HER)

  3. ArchivalData Desk Research SNA Interviews A Work in Progress Credits from the Tokyo Copywriters Club Advertising Copy Annual (1981, 1986, 1991, 1996, 2001, 2006), manually entered into a Filemaker Pro Database The starting point is a set of six 2-mode multiple edge affiliation networks that contain a total of 7018 creators connected by 27, 314 roles to 3,634 award-winning ads, analyzed using Pajek Many of the high-centrality creators are authors or frequently interviewed in a large and active trade press—several hundred pages per month of coverage in monthly magazines, numerous new books each year, and now Websites and blogs as well. Interviews with high-centrality creators using results of SNA and Desk Research as stimulus material

  4. Super Network 81-06 p-Core Distribution Arithmetic mean:                         2.3027 Median:                                  1.0000 Standard deviation:                      3.1723  2.5% Quantile:                          1.0000  5.0% Quantile:                          1.0000 95.0% Quantile:                          7.0000 97.5% Quantile:                         10.0000        Vector Values                                     Frequency       Freq%     CumFreq  CumFreq% ----------------------------------------------------------------------------------------------------  (                         ...                   0.000]         28      0.3990          28    0.3990  (                   0.000 ...                   8.778]       6752     96.2097        6780   96.6087  (                   8.778 ...                  17.556]        193      2.7501        6973   99.3588  (                  17.556 ...                  26.333]         33      0.4702        7006   99.8290  (                  26.333 ...                  35.111]          6      0.0855        7012   99.9145  (                  35.111 ...                  43.889]          1      0.0142        7013   99.9288  (                  43.889 ...                  52.667]          1      0.0142        7014   99.9430  (                  52.667 ...                  61.444]          2      0.0285        7016   99.9715  (                  61.444 ...                  70.222]          0      0.0000        7016   99.9715  (                  70.222 ...                  79.000]          2      0.0285        7018  100.0000 ----------------------------------------------------------------------------------------------------   Total                                                       7018    100.0000 Produced by combining six 2-mode networks, simplifying the result, projecting the 1-mode creators network in which line values are the numbers of projects on whichpairs of creators have both worked, and then performing p-Core analysis. (See Appendix 1 for details).

  5. The Super Stars (0.064%) Subnetwork of top 45 vertices. Extracted from partition based on p-Core Vector

  6. The Super Super Stars(But what does HER see?)

  7. The Ethnographer’s Eye(The circles indicate where my eye turns) Iwasaki Shunichi (1947) Itoi Shigesato (1948) Nakahata Takahashi (1947) Maki Jun (1948) Akiyama Sho (1936) Light Publicity Sasaki Team Sasaki Hiroshi (1954) Tugboat Oka Yasumichi (1956) Tada Taku (1963) Miyazaki Group Miyazaki Susumu (1944) Okada Naoya (1955) Ohnuki Takuya (1958) Taniyama Masakazu (1961)

  8. Founders Generation Iwasaki Shunichi (1947) Itoi Shigesato Nakahata Takahashi (1947) Maki Jun (1948) Akiyama Sho (1936) Light Publicity Oka Yasumichi (1956) Taku (1963) Tada Sasaki Team Sasaki Hiroshi (1954) Tugboat Miyazaki Group Miyazaki Susumu (1944) Okada Naoya (1955) Ohnuki Takuya (1958) Taniyama Masakazu (1961)

  9. Akiyama Sho(Autobiographical Statement Found Online) • Born in Tokyo in 1936, he graduated from the Rikkyo University Faculty of Economics in 1958, and joined the Kodansha advertising department the same year. He joined Light Publicity Ltd. in 1964, and he is currently president of that firm. His work involves advertising production, including both graphic and film direction, and copywriting. He cherishes the words of Takashi Nakahata, "The bullet has a beautiful form because it speeds to its target." 

  10. The Copywriter Boom(“Hitmen” as celebrities) Iwasaki Shunichi (1947) Itoi Shigesato Nakahata Takahashi (1947) Maki Jun (1948) Akiyama Sho (1936) (1936) Light Publicity Sasaki Team Sasaki Hiroshi (1954) Tugboat Oka Yasumichi (1956) Taku (1963) Tada Miyazaki Group Miyazaki Susumu (1944) Okada Naoya (1955) Ohnuki Takuya (1958) Taniyama Masakazu (1961)

  11. The Miyazaki Group(Once they were the brightest stars) Iwasaki Shunichi (1947) Itoi Shigesato Nakahata Takahashi (1947) Maki Jun (1948) Akiyama Sho (1936) Light Publicity Oka Yasumichi (1956) Tada Taku (1963) Sasaki Team Sasaki Hiroshi (1954) Tugboat Miyazaki Group Miyazaki Susumu (1944) Okada Naoya (1955) Ohnuki Takuya (1958) Taniyama Masakazu (1961)

  12. The Sasaki Team(Dominant in the Late 1990s) Iwasaki Shunichi (1947) Itoi Shigesato Nakahata Takahashi (1947) Maki Jun (1948) Akiyama Sho (1936) Light Publicity Oka Yasumichi (1956) Tada Taku (1963) Sasaki Team Sasaki Hiroshi (1954) Tugboat Miyazaki Group Miyazaki Susumu (1944) Okada Naoya (1955) Ohnuki Takuya (1958) Taniyama Masakazu (1961)

  13. Tugboat(The Rebel Angels) Iwasaki Shunichi (1947) Itoi Shigesato Nakahata Takahashi (1947) Maki Jun (1948) Akiyama Sho (1936) Light Publicity Oka Yasumichi (1956) Tada Taku (1963) Sasaki Team Sasaki Hiroshi (1954) Tugboat Miyazaki Group Miyazaki Susumu (1944) Okada Naoya (1955) Ohnuki Takuya (1958) Taniyama Masakazu (1961)

  14. Lessons Learned

  15. Time Matters(It Really Does) • Age MattersMost super stars have had long successful careers. Except for the occasional supernova—Tada Taku, who burst on the scene with an unprecedented triple Grand Prix is an example, Itoi Shigesato was another — it takes time to become a super star. • Sampling MattersTo appear in our network, our stars’ glory days had to have been within the years our sample spans (1981-2006). Many historically famous names do not appear because their glory days were in the 1960s and 70s.

  16. Two Surprises

  17. Who is this?(The SNA Surprise) Iwasaki Shunichi (1947) Itoi Shigesato Nakahata Takahashi (1947) Maki Jun (1948) Akiyama Sho (1936) Light Publicity Oka Yasumichi (1956) Tada Taku (1963) Sasaki Team Sasaki Hiroshi (1954) Tugboat Miyazaki Group Miyazaki Susumu (1944) Okada Naoya (1955) Ohnuki Takuya (1958) Taniyama Masakazu (1961)

  18. What are we not seeing here?(The HER Surprise)

  19. A Special Relationship Sasaki Hiroshi Anzai Toshio

  20. そうだ京都、いこうThat’s It, Kyoto. Let’s go. • One of the most successful and longest-running campaigns in Japan’s advertising history. • Sasaki and Anzai worked together on this campaign. Sasaki was younger and a copywriter, Anzai older and a CM planner. • Anzai tells me a story about this collaboration...

  21. In Conclusion • SNA makes it possible to focus quickly and precisely on key players in a network too large to grasp with the naked eye alone. • SNA can surprise us, identifying key players who were off our radar, Iwasaki Shunichi (1947), for example. • Historical and ethnographic research (HER) adds depth to our understanding of important relationships and reminds us that time matters when examining archival data. • HER can also surprise us, by identifying relationships that may not seem so important in purely SNA terms but may be very important, indeed, in how the actors we study perceive their networks.*

  22. Thank You

  23. Appendices

  24. Appendix 1How the Subnetwork was Selected • Combine six primary networks into one super network • Simplify super network • Net>Transform>Remove>Multiple Lines>Single Line • Project 1-mode creator network • Net>Transform>2-Mode to 1-Mode>Rows • p-Core analysis • Net>Vector>PCore>Max>All • Extract top p-cores • Vector>Make Partition>By Intervals>Selected Thresholds>#10 • Operations>Extract from Network>Partition>4-10

  25. Appendix 2p-Core 81-06 (3-*), Top 238

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