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THE PARSONS INSTITUTE FOR INFORMATION MAPPING
Representing the Digital Humanities Community: Unveiling The Social Network Visualization of an International Conference D A R I O R O D I G HI E R O
Actor-network theory, data visualization, interpretant, semiotics, social network visualization K EYW O R D S
This paper deals with the sense of representing both a new domain as Digital Humanities and its community. Based on a case study, where a set of visualizations was used to represent the community attending the international Digital Humanities conference of 2014 in Lausanne, Switzerland, the meaning of representing a community is investigated in the light of the theories of three acknowledged authors, namely Charles Sanders Peirce for his notion of the interpretant, Ludwig Wittgenstein for his insights on the use of language, and finally Bruno Latour for his ideas of representing politics. There results a proposal to designing and interpreting social network visualizations in a more thoughtful way, while remaining aware of the relation between objects in the real world and their visualizations. As this type of work pertains to a wider scope, we propose bringing a theoretical framework to a young domain such as data visualization. A BSTR A CT
In Valcamonica, a valley close to Brescia in the north of Italy, there is the largest number of prehistoric petroglyphs in the world. Here, UNESCO identified about 140,000 different drawings. But the actual number is likely twice as much because some of them are still covered by vegetation. All these incisions date back to different ages: Epipaleolithic, Neolithic, Copper Age, etc., until the Middle Age. This corresponds to a long period, about six or eight millenniums, where people have used this kind of visual communication. Historical information has been deduced from these drawings: people living in that area practiced agriculture, fought to protect their community, hunted wild animals, and prayed according to their religious beliefs. For thousands of years, people living there represented their world through visualization.
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Today the scientific community refers to this practice as Information Design. Robert Jacobson, one of the pioneers in this field, defines Information Design as the discipline whose “purpose is the systematic arrangement and use of communication carriers, channels, and tokens to increase the understanding of those participating in a specific conversation or discourse”. The conceptualization of this domain was first introduced in the 1970s and became official with the publication of the Information Design Journal in 1979. However, important thinkers such as Charles Joseph Minard, John Snow, Florence Nightingale and Otto Neurath previously carried out some significant works in this field. In recent years, other areas of study entered Information Design with different denominations. One of these is Data Visualization, a recent domain that explores how digital data can be portrayed. Now “Data Visualization” as a term is in wide-spread use all over the world; it is common to come across writings, courses, and web sites related to this domain: FlowingData is one of them, a web magazine whose payoff is “Data Visualization, Infographics and Statistics”. This article expands on the notion that it can be reductive to only speak about visualization. In the past, people who lived in Valcamonica were not simply drawing what they saw; rather they used images to represent their community and their lives. What they drew was not just a sign, they also implied a behavior
Figure 1: The network visualization based on authors and keywords derived from publications.
© 2015 PARSONS JOURNAL FOR INFORMATION MAPPING AND PARSONS INSTITUTE FOR INFORMATION MAPPING
REPRESENTING THE DIGITAL HUMANITIES COMMUNITY: UNVEILING THE SOCIAL NETWORK VISUALIZATION OF AN INTERNATIONAL CONFERENCE DARIO RODIGHIERO
beyond that sign. Illustrations are meaningful because they represent something important to the community; consequently, it is fundamental that those who observe them also detect the object indicated so as to hear the voice of the community who drew the sign. To investigate this theme, the argument should be built by investigating the relationship between visualization and representation, as can be shown by a practical example of design; the brand image of DH2014, the Digital Humanities conference that took place at the EPFL and UNIL campus in Lausanne, Switzerland. The idea was to represent the Digital Humanities (DH) domain as a pattern that could be beautiful and ductile, which would allow it to be used as a brand image for producing posters, covers, banners, etc. The DHLAB, laboratory in Digital Humanities at EPFL, one of the organizers of the conference, accomplished this task by using the conference data set—in particular the submission information. By analyzing this data it was possible to create a network visualization based on authors and keywords derived from the metadata found in all papers and posters accepted for the conference. All the keywords of each document were linked, as well as all authors of each document. Then, the authors and keywords of each document were linked. The three sets of links were merged to form a unique network that provided a representation of the DH community’s complexity.
Subsequently the original network was split in two networks: the first representing the authors, the second the keywords. The purpose was to simplify the visualization in order to make it more comprehensible. This network represents all authors attending the conference who had entered at least one submission. The authors in the middle of the network are the most linked, both due to their co-authoring and to common keywords. In fact, this is not just a network showing who published with whom, but also a network displaying authors with shared keywords or, in other words, who worked on the same theme. The force-directed graph, arranged by combining ForceAtlas 2 and Fruchterman–Reingold algorithms, makes identification of author clusters easy. Due to these algorithms, the spatial disposition doesn’t have a disposition based on coordinates, rather its relevance is in terms of proximity; the closer two authors are, the more documents or interests they share. The social network of authors was printed and placed in front of the conference’s entrance. Due to its large size this visualization, reified in a carpet, gave participants a clear invitation to exploration. As shown in the photograph, authors were attempting to locate themselves on the map. What soon became a game was a perfect mix between entertainment and examination; each person followed their personal path within the social network.
Figure 2: Conference authors represented by co-authoring and shared keywords.
Figure 3: The authors network visualisation materialized in a red carpet, placed just in front of the conference entrance.
PA R SON S JOU R N A L FOR INFO RM ATIO N M APPING V OLU ME V II ISSU E 2, SPRING 2015 [PA G E 2 ]
© 2015 PARSONS JOURNAL FOR INFORMATION MAPPING AND PARSONS INSTITUTE FOR INFORMATION MAPPING
Koichi Yasuoka Tomohiko Morioka
Hugh Craig
Elizabeth M Lorang
Leen-Kiat Soh REPRESENTING THE DIGITAL HUMANITIES COMMUNITY: UNVEILING THE SOCIAL NETWORK VISUALIZATION OF AN INTERNATIONAL CONFERENCE Jentery Sayers DARIO RODIGHIERO Joseph Lunde
Mark Finlayson
Alexandre Wenger
Geoffroy Noel
David Tcheng
Mark Fisher
R Mike Kestemont Fotis Jannidis
Kathryn Tanigawa
Kevin Bradley Kee
Katarzyna Bazarnik Such a search generally led them first to spotting invitation to play the game when they invited other people Allen Riddell authors that were well known to them, then to finding to find themselves, or d) a selfie. Dustin Elias Grue Grace Thomas Çar Çöltekin their own colleagues, and finally themselves. Finding This active interaction with the carpet was not Thorsten Trippel Mark Alg Peter Boot Alexander Christie one’s own name was a kind of success that triggered mere engagement, since any form of data visualization Charles Crowther different behaviors, which were often shared on social can only be considered successful when it creates Pablo Gervas Daniel O'Donnell Jan Rybicki John Nerbonne Christoph Draxler Martin Wynne networks as Twitter. Among the actions identified there comprehension and knowledge among its viewers. Elisabeth Steiner were: a) a portrait when authors asked to have a picture Complex data visualizations require time to be understood; John Noecker Jr taken they found a friend the aspects of entertainment, the exceptionality of the Christopher Theibault Julianne Nyhan of them, b) a postcard in caseJohn Patrick Juola Edward Simpson or close colleagueJohn and sent them a message, c) an media, and social interaction involvedGabrielle at the 2014 Bruce Herbert Kirilloff James Wehrwein Courtney Lawton Digital Humanities Conference made the process of Katherine Bode David Robey understanding easier. Interaction with the carpet was Jose Luis Moreno Klaussner not aCarmen solitary experience; it was a collective one where Eden Shalom Erez Craig Goodere Chandler Warren Greenspan authors improved their comprehension of aBrian form of Laura Dimmit Jenny Kirsten Ataoguz Kim Martin describing a collective domain—the representation of Carmen McCue Rebecca Jacob Dahl Ashanka Kumari Digital Humanities. The network of keywords isQuan-Haase probably the most Anabel Segolene Tarte Christian Wittern Bourg interesting one.Alex AsGilthe Digital HumanitiesChris community Asanobu Kitamoto Robyn Sullivan shows uncertainty in defining their very domain, this Adam Farquhar Dominic Kao Michael B. D. Fox Harrell visualization is intended as a representation of the Ernesto Priani Saisó Padraic Stack Lauraof Miller documents presented at the conference, the authors Purdom Lindblad Katharina Lorenz attending the conference, of the conference itself, and, James William Baker ayan Zhitomirsky-Geffet Yoko Nishimura last but not least—of the domain of Digital Humanities. Chong-U Lim Jason Lipshin R. Douglas Emery TheChristof edges signify that two keywords are used in Schöch James Baker Joe Bailey Alice Rio the same document, Jacqueline while Hettel the lines thickness isKimgiven Johanna Jautze accordingly to the occurrence of the connection. This Gary Priestnall Ainsley Sutherland sabel Galina Russell thickness increases the depth of the layers—about twelve Dauvit Broun Walter Scholg Claire-Charlotte Butez measures are used in the current network—thereby Francesco Beretta enhancing the reading Mike Heffernan Jérôme Jacquin with a sense of depth and highlightMatthew Hammond Bernard Hours Figure 4: Conference keywords represented in a network. ing the most used connections. Shawn Day
Steven Krauwer
Simon Rowberry
Idan Dershowitz
Antonio Lamarra
Xavier Gradoux
Deborah Van der Plaat
Tomer Hasid
Timothy Compeau
Adi Hajj-Ahmad
Joachim Berger
Caleb Derven
Andrew Goldstone
Hugh Craig
Tomohiko Morioka
Elizabeth M Lorang
Mark Finlayson
C. M. Sperberg-McQueen
Susan Perdue
Laura Dimmit
Anabel Quan-Haase
Dominic Kao
D. Fox Harrell
Ernesto Priani Saisó
Francesco Beretta
Idan Dershowitz
Bernard Hours
Niels-Oliver Walkowski
Djamel Ferhod
Toma Tasovac
Johannes Thomann
Elise Walther
C. M. Sperberg-McQueen
Montserrat Prats Lopez
Henriette Partzsch
Laura Estill
Caroline Sporleder
Andreas Henrich
Gertjan Filarski Annelen Brunner
María Isabel Hidalgo Urbaneja
Jean-Marc Odobez
Jeremy Boggs
Stefan Schmunk
Jody Perkins
Hannah Kermes
Sebastian Sulger
Fabio Vitali
Silvio Peroni
Stephane Marchand-MailletSally Chambers
Kathleen Smith
Fabio Ciotti
Franciska de Jong
Mark Depauw
Monica Berti
Gregory R. Crane Rebecca Barr
Hugh A G Houghton
Volker Dellwo
Daniel Alves
Sibylle Söring
Jui-sung Yang
James Joel Coltrain
Dorji Wangchuk
Marilyn Deegan Gemma Webster
Carlo Meghini
Chris Mellish
Claire Wallace
Carl Stahmer
Xuemao Wang
Valentin Gold
Konnor Clark
Florentina Armaselu
Annelen Brunner
Sabine Süsstrunk
Jon Cawthorne Makoto Ohura
Julia Ritter
Barbara Bordalejo
Stefan Jänicke
Kenro Aihara
Yuta Hashimoto
Karina van D
Frédéric Allemand
Oliver Streiter Yoann Goudin
Lisa Spiro Vivian Lewis
Roopika Risam
Nikolaos Arvanitopoulos Darginis Annette Geßner
Elena Gonzalez-Blanco
Daniel Paul O'Donnell
Susumu Hayashi Minao Kukita
Gabriel Bodard
Toshinobu Ogiso
John Resig
Taro Ichimura
Akihiro FOR Kawase © 2015 PARSONS JOURNAL INFORMATION MAPPING AND PARSONS INSTITUTE FOR INFORMATION MAPPING
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Daniel Gatica-Perez
Charlotte Tupman
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PA R SON S JOU R N A L FOR INFO RM ATIO N M APPING V OLU ME V II ISSU E A. 2,Keim SPRING 2015 Daniel [PA G E 3 ] Jeremy Boggs
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Juan Luis Súarez
Steven L. MacCall
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Jyi-Shane Liu
Claire Clivaz
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Megan Senseney Ali Fenlon
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Figure Tina 5: Bögel The authors network displayed without and with labels. Elke Teich
Vivien Friedrich
Kristina Fink
Javier de la Rosa
Simon Mastrangelo Monika Salzbrunn
Emmanuel Chateau
Lior Wolf Yaacov Choueka
Matthew Munson
Frank Queens
Wolfgang Lukas
Burak Pak Ann Gow
Leo Konstantelos
Ricardo Gutierrez-Osuna
Boris Capitanu
Richard Furuta
Anthony Durity
Orna Almogi Kaisa Kulasalu
Anshul Gupta
Stefan Funk
Ryan Olivieri
Eliza Papaki
Nephelie Chatzidiakou
Su-Chu Hsu
Alexander O'Connor Natalia Caldas
Johan Verbeke
Laura Molloy
Andrea Mazzei
Mélanie Fournier
Matthew Handelman
Stefanie Dipper
Paul Spence
Gaurav Kejriwal
Chun-Wen Chen
Stefan Buedenbender Susan Schreibman
Stella Dee
Noah Bubenhofer
Cristina Vertan
Nuno Freire
James Creel
Yannick Rochat
Cheng-Wei Lin
Martijn Kleppe
Alexey Maslov
Anton Raymund duPlessis
Justin Tonra
Shay Rojansky
Frederik Baumgardt
Emily Franzini
Giuseppe Celano
Guan-tao Jin
Adrian Leemann Ingrid Hove
Alexei Lavrentiev
Ubbo Veentjer
Marco Antonio Godinez Maria Clara Paixão de Sousa
Simon Mahony
Milica Knezevi
Nandita Dutta
Juan Luis Suárez
Unmil Karadkar
Elika Ortega
Ana María Guzmán
Wen-huei Cheng
Martin Andert
Silvia Gutierrez
Wei-Yun Chiu
Patrice Lopez
Anna Bohn
Ichiro Fujinaga
Robert C.H. Sweeny
Jacob Heil
Panos Constantopoulos
Ellysa Stern Cahoy José Francisco Barrón Isabel Galina
Ernesto Priani Qing-feng Liu
Laura C Mandell
Timothy Duguid
Sinai Rusinek
Mirjam Blümm Smiljana Antonijevic
Chao-lin Liu
Stef Scagliola
Marie-José Kolly
Andreas Henrich
André Gießler
Maryam Foradi
Alexander Meyer
Jakub Benes
Laurent Pugin
Matthew Christy
Matthew Gold
Ben Vershbow
Aletta Leipold
Benjamin Bohl
Nachum Dershowitz
Erik Champion
Max Kemman
Ibrahim Almajai
Peter Leonard
Kelsey Rubin-Detlev Andrew Hankinson
Valerie C. Burton
Andrew Kahn
Paul Molitor
Nikolaos Beer
Janette Seuffert
Rainer Simon
Bastian Entrup
Roeland Ordelman
Peter Fankhauser Jia-Ming Day
Amelia Sanz
Leif Isaksen
Timothy Cole
Scott Bailey
Jean-Philippe Goldman
Suzan van Dijk
Ines Schiller
Ynon Wygoda
Andy Bevan
Alicia Peaker Stefan Dumont Liam Andrew
Jörg Ritter Sylwia Kösser
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Bryan Tarpley
Rachel Schnepper Brent Nelson Geoff Roeder
Doug Reside
Henning Lobin
Frank Binder
Samantha Rayner
Lauren Tilton
Marco Tagliasacchi Marten Düring
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Thomas Selig
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Joan Fragaszy Troyano
Katayoun Torabi
Claire Warwick
Paul McCann
Taylor Arnold
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Daniel Pett
Georg Vogeler
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Owain Roberts
Javier Garcia Moron
Carine Lallemand
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Caitlin Christian-Lamb
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Brian Johnsrud
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Daniel A. Keim
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Jonathan Blumtritt
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Manfred Thaller
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Katharina Holzinger
Joerg Wettlaufer
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Roxanne Shirazi Jamie Folsom
Felix Lange
Ruth Knechtel
Natalia Ermolaev Patrick Sahle
Peter Organisciak
Claire Clivaz
Joerg Wettlaufer
Andrea Thomer
Wyn Kelley
Hugh Cayless
Tim Krones
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Martijn Kleppe
Amelia Sanz
Annette Hautli-Janisz
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Tina Bögel
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Panos Constantopoulos
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Séverine Gedzelman
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Alison Booth
Trevor Muñoz
Joan Fragasy Troyano
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Jonathan Pearce Reeve
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Carrie C. Heitman
Thomas Keegan
Kelly McElroy
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Gerlinde Schneider
Angela Jordan
Claudia Savina Bianchini Mats Ulrik Malm
Lynne Siemens
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Charlotte Butez
Michela Tardella
Maria De Marsico Heike Neuroth
John Franch
Stan Ruecker
Carola Westermeier Teresa Dobson
Clémence Andréys James O'Sullivan Pierre Vernus
Constance Crompton
John Bradley
Erhard Hinrichs
Tomer Hasid Amnon Ta-Shma
Kimberly Ann Tedrow
Caterina Bernardini
Ayush Shrestha
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Stéfan Sinclair
Susan Brown
Kerri Grimaldi
Ernesto Peña
Sarah Potvin
George Kuriakose Thiruvathukal
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Alex Hawker
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Worthy Martin Jennifer Windsor
Jennifer Guiliano Ylva Schwinghammer
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Xavier Gradoux
Luciano Frizzera
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Ben Miller
Willeke Wendrich
Lisa Rhody
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Benjamin J. Doyle
Elton Barker
Ian R. Johnson
Walter Scholger
Jérôme Jacquin Steven Krauwer
Nicholas Thély
Orla Murphy
Harvey Quamen
Donna Gabaccia
Paul Hjartarson Christopher Ohge
Janet Thomas Simons
Mike Heffernan
Simon Rowberry
Matthew Bouchard
Angel David Nieves
Demmy Verbeke
Joanna Elizabeth Swafford
Jan Christoph Meister Kim Johanna Jautze
Peter Fornaro
Toby Nicolas Burrows
Øyvind Eide
Jennifer Olive
Ryan Chartier
Miriah Meyer
Tobias Schweizer Janina Jacke R. Douglas Emery
James Baker
Jacqueline Hettel
Ainsley Sutherland Claire-Charlotte Butez
Matthew Hammond
Shawn Day
Simon Fuller
Michael B. Toth
Jason Lipshin Christof Schöch
Gary Priestnall
Elizabeth Hopwood Ivan Subotic
Laura Miller James William Baker
Chong-U Lim Joe Bailey
Dauvit Broun
Padraic Stack
Purdom Lindblad
Katharina Lorenz Yoko Nishimura
Alice Rio
Isabel Galina Russell
Lorena Regattieri Julie Gonnering Lein
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Adam Farquhar
Scott Brian Reed
Rebecca Ankenbrand
Nicholas van Orden
Michael Brundin
Chris Bourg
Alex Gil
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Jieh Hsiang
Mikal Brotnov Eckstrom
John Joseph Montague
John Simpson
Nina McCurdy
Brian Croxall
Natsumi Yamashita
Takafumi Suzuki
Elizabeth Cornell Dotty J Dye
Jesse Stommel
Brett Barney
Amy Papaelias
Marras Cristina
Vinayak Das Gupta
David L. Hoover
Amy Earhart
Mia Ridge
Ciula Arianna
Deb Verhoeven
Bronwyn Coate
Colin Arrowsmith
Maureen Engel
Brian Pytlik Zillig Scott Kleinman
Marie Pérès
Alwyn Davidson
Aaron Quigley
Samia Pedraça
Geoffrey Rockwell
Maura Ives
Rebecca Rouse
Christian Wittern
Maayan Zhitomirsky-Geffet
Luis Meneses
Heather Zwicker
Julie Beth Napolin
Sven Wortmann
Nam Khanh Tran Jean-Marc Leblanc
Deirdre Quinn
Matthew Jockers
Rafael Alvarado
Megan Sellmer
Kim Martin
Robyn Sullivan
Uta Hinrichs
Nicholas John Hayward Beatrice Alex
Zachary Schoenberger
Myung-Ja Han
Timothy De Paepe
Beate Hofmann
Peter Birke
Nuria Rodríguez-Ortega
Rafael Bailón-Moreno
Jim Clifford
Allen E Tullos
Brian Greenspan
Carmen McCue
Ashanka Kumari
Segolene Tarte
Asanobu Kitamoto
Chandler Warren
Sylvain Boschetto Sergej Zerr
José Pino-Díaz
Maarten Hoogerwerf
Keith Maycock
Brian Norberg
Tomoji Tabata
James Chartrand
Jenny Kirsten Ataoguz
Jacob Dahl
Tiemen Cocquyt
Charles van den Heuvel
Chris Alen Sula
Séverine Gedzelman Desiree Dighton
Katherine Bode Kirk Quinsland
Carmen Klaussner
Iris Sun
Will Dean
John Keating
Maciej Eder
Jimmy Lin
Bruce Herbert
Gabrielle Kirilloff
James Wehrwein
Courtney Lawton Jose Luis Moreno Craig Goodere
Ricardo L. Punzalan Punzalan
Meagan Wilson
Grant Wythoff
Alessandro Marchetti
Daniel James Powell
Travis Brown
Meredith Martin
Natalie M Houston
Matthew Aaron Munson
Jürgen Knauth
Wiebke Wiede
Rachael Hamilton
Dylan Nagel
Dominic Forest
Tanya Clement
Ève Paquette-Bigras Maria Kraxenberger
Elisabeth Steiner
Gunter Vasold
Sara Tonelli
Frederik Elwert
Claudia Niederée
Antonio Cruces-Rodríguez
Dorothy Carr Porter Anouk Lang
Dean Rehberger
Mark Algee-Hewitt
Martin Wynne
Patrick Juola
John Edward Simpson David Robey
Eden Shalom Erez
Kemman Max Yves Marcoux
Christoph Draxler
Rachele Sprugnoli
Aaron Plasek
Kerstin Brückweh
Kerstin Bischoff
Doug Emery
Brian Aitken
Jacob Eisenstein
Michael Rocchio Douglas Boyd Kari Kraus
Jonny Sensenbaugh Thorsten Trippel
Jan Rybicki
John Nerbonne
Rory Solomon
Alberto Campagnolo
Michiel Thijssen
Dustin Elias Grue
Grace Thomas
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Elise Walther
John Noecker Jr John Christopher Theibault
Lauren F. Klein
Wendy Kurtz
Toniesha Taylor
Fotis Jannidis
Katarzyna Bazarnik
Peter Boot
Alexander Christie Pablo Gervas
Daniel O'Donnell
Jaap Verheul Toine Pieters
Justin Tackett
Kathryn Tanigawa
Kevin Bradley Kee Allen Riddell
Charles Crowther
Julianne Nyhan
Carolina Ferrer
David Smith
Edith Gwendolyn Nally
Michael Alan Cade-Stewart
Ian Milligan
J.D. Porter
David Hoover Monica Brown
Paul Rayson
Marcello Vitali Rosati
John Lynch
Ryan Heuser Mike Kestemont
Joseph Lunde Alexandre Wenger
Johannes Thomann
Padmini Ray Murray
Wendy Anderson
Jentery Sayers
Simon Ganahl
RIchard Lawrence Edwards
Michael Eberle-Sinatra
Aaron Louis Plasek
Boris Orekhov Anastasia Bonch-Osmolovskaya Ashley Clarkson
Ted Underwood
Leen-Kiat Soh
Yukari Shirota Jean-Gabriel Ganascia
Marc Alexander
Olliver Dyens
Tara Andrews
Geoffroy Noel
David Tcheng
Edward Slingerland
Alaa Abi Haidar
Jill Belli
Carolin Odebrecht
Michael Sperberg-Mcqueen Elena Pierazzo Min Wu Mark Fisher
Christian Kay
Peter Schirmbacher
Johanna Drucker
Joris Job Van Zundert
Devon Elliott
Hui Su
Jean Anderson
Timothy W. Cole
Peter M. Broadwell
Aja Teehan Tanya Llewellyn Mary Caton Lingold
Christopher Long
Michael Beißwenger
Glenn Roe
Dennis Zielke
Timothy R. Tangherlini
Daren Mueller Angelika Storrer Tony Borries
Eric Poitras
Naoki Yamazaki
Koichi Yasuoka
Brenton Sullivan
Charlotte Butez Colleen Fallaw
Aaron Mathew Mauro
Michela Tardella Rolf Fredheim
Marie Giltner Saldaña
Michael Muthukrishna
Scott Piao Craig Willis
David Mimno
Giancarlo Buomprisco
Mark Andrew Algee-HewittLaura Eidem
Fraser Dallachy
Clovis Gladstone Geoffroy Noël
Radu Suciu
Amnon Ta-Shma
Ronald Dekker
Alistair Baron
Matilda Watson
Anita Law
Katrina Fenlon
Robert Morrissey
Peter Anthony Stokes
Pierre Vernus
Fred Tappenden Carson Logan
C.J. Rupp
Ian Gregory
Graham Alexander Sack
Nadja Radtke
Laurent Bolli
Orla Murphy
Christopher W. Forstall
Chris Donaldson Patricia Murrieta-Flores
Andrew Hardie
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Whitney Trettien
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Walter J. Scheirer
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Doug Oard
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Masahiro Hori Thomas Krause María Dolores Martos Pérez Nieves Baranda Leturio
Constance Crompton
John Bradley
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Jean-Paul Fourmentraux
Gavin Bannerman
Jane Hunter
María Carmen Marín Pina
Vinodh Rajan
Thomas Zastrow
Keisuke Koguchi
Miyuki Nishio Janina Gosseye
Andrae Muys Toru Tomabechi
Stéphane Couture
Kathryn Tomasek
Djamel Ferhod
Federico Boschetti
Marion Lamé Izabella Pluta Kiyonori Nagasaki
Elizabeth Losh
A. Charles Muller
Masahiro Shimoda
Ayaka Uesaka
Stefan Sinclair
Mark Wolff
Karin Gross
Craig Macnamara
Penny Johnston
Masakatsu Murakami
Drayton Callen Benner
Angelo Mario Del Grosso John Macarthur
Lídia Oliveira
Nicholas Thély
Anas Fahad Khan
Ouafae Nahli
Vania Baldi Lev Manovich
Mobile communication oblem
Key word in context
Musical Instruments
REPRESENTING THE DIGITAL HUMANITIES COMMUNITY: UNVEILING THE SOCIAL NETWORK VISUALIZATION OF AN INTERNATIONAL CONFERENCE Museum Guide DARIO RODIGHIERO
Trajectories
Serendipity
a
Real-time Guidance
Syntax
Queneau
Handwriting
Scripts
Tool design
History of Music
Art historical edition
Hiperedição Charles Sanders Peirce has been a prolific mathematiPeirce used to refer to the signifying element in Association processes Spanish literature cal logician and founder of American pragmatism. Peirce, different ways: sign, representamen or representation. Local Paratexts ch habits Oulipo Artists notebooks with Ferdinand de Saussure and Charles W. Morris, was Contrary to the meaning of the word “sign,” “representation” Writers Archive Customization Philology one of the most prominent theorists in Semiotics, and bears a wider sense: while “sign” just refers to a visual Potential criticism is famous for his contributions to the Sign’sElegy Theory, an element, “representation” encloses the sign and the Ethnography Palaeography Manuscript studies approach based onDigital the palaeography dyadic relationship between sign object together. Crítica Textual Post-structuralism Derrida and object where the sign is something that can be interApplying the Signs Theory to Information Design Image annotation Semantic processing Cultural artefacts preted, and the object is the target of the signPhonemes meaning. could be inspiring. Thanks to that theory, the authors’ Computatonal methods Videogames Swiss German dialects If a reader looks at the word “dog” in a book, automaticallyContent archive network of DH2014 can be interpreted in two ways: by Sound archive Archival theory he transforms the word in the concept of dog that is, what assuming the network node is the sign, and the label—the Reasoning Naive literature Web Archiving Literary canon is the word meaning in that context. In this example the nominal data associated to the node—is aCrowdsourcing sign extension, data E-books Plato sign is the wordSpokenWeb “dog” and the object is the concept of the the object could consequently be 1) the author, whose Description Genetic editions Semantic annotation Ancient Greek dog, precisely the meaning of “dog” for the reader—that interpretant is his written document, or 2) the document, Users' voice profile editor Arthur SchnitzlerGraphical should be the common comprehension of the word dog. whose interpretant is the author who wrote that document. Process data Process management Fiction Writing system Distant reading Peirce, during his life, wrote a lot of definitions regardBy assuming the interpretant as the determinant of the Geographical text analysis sis Facebook ing Sign’s Theory, such as the following: “I define aArchitectural sign as history sign/object relation, both versions are appropriate: 1) inMobile App European History Prosody anything which is so determined by something else, called the first Graphical case the document describes the relation between Information extraction User Interface Corpora Oral history Stéphane Mallarmé its Object, and so determines an effect upon a person, the node and the author, and 2) in the second case the Definition Content Management System Communication Animated art Knowledge extraction which effect I call its interpretant, that the later is thereby author is the key Editorial to understanding that relation; by assertper verse Open Peer ReviewUrban simulation Workflow Woodcut print mediately determined by the former.” ing his fatherhood, he takes on the responsibility to be Journal Jewish HBCU Different from the others, according to Pierce, the associated with a certain scientific document. The act Archaeological reconstruction Attribution Unsyllabification Motion sen Neatline theory of signs is not just based onDigital a dyadic of authoring denotes the relationship sign/object.Both Scholarlyrelationship Communication her Reception study Early New High German Public Scholarship Reception formed by signs and objects, but also on the interpretant, choices are reasonable, but by considering the keywords’ Matsu Rosenzweig Hyphenation Corpus linguistics a fundamental point of his approach which introduces network we will obtain further insights that will help Assignment design Transcultural approach Syllabification Burst detection an interpretation between the object and the sign. In identifying the right interpretation. Computer Gephi es Book history Methodology Provenance the above example, theMuseums interpretant is the person read The interest of a second attempt rests in the meaning Quotes Verifiable Historical corpora -ing the word “dog.” Consequently the basic structure of keywords. In this visualization,Lemmatization nodes represent Site-specificity Geography German Inte becomesClose a triple, which comprises the sign, the object, keywords, accurate words chosen by their respective Unhyphenation reading Platform Web service and the interpretant. authors appearing as the documents’ metadata. The nodes Encoding Statistical analysis Research data
Information discovery
Multimodal composition Spatial analysis
Women's writing
Melville
Social media
Extralinguistic Signification
Omeka
Social edition
Digital heuristic
Modeling
IRC Conversations
Dance
Graph structure Text modeling
Newspapers
Computer mediated communication
Willa Cather
Corpus-based linguistics STYLEMETRICS
Active authentication
ocial networking
Graphs
GIS
Metadata
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Database management United States
International Collaboration
Religion
Dissemination of DH
Poetry
Correspondence Archives
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Curriculum development
Website Sentiment Analysis
Play
Buddhism
Textual scholarship Co-occurrence
Computational narrative
Analysis of associated words
Social culture and knowledge
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Big data
Page images
3D visualization Annotation
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Semantic Drift
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Archaeology
Orthography
Représentation des connaissances
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Methods
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Spatial humanities
Outreach
Letters
Multimedia
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History of Science
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Software
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Neostructuralism
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DH Centers
Cultural institution
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Entity linking
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Web Logs Islamic
Pathway Memory
Institutions
Content
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Document images Tenure and promotion
Data
Digital multi-text editions
Humanities Data Center
Resources
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Old French
User Requirements
Time
State
Sovereignty
Temporal modeling
Crowdfunding
[PA G E 4 ]
Comparing editions Open Source
Prosopography
Papyrology
Object relational database
Reading Physical and digital environments
Text interpretation Text network analysis
Legal documents Textual zoom
Text summarisation
Beauty
TEI Audiovisual material
Text encoding
XML-TEI Symmetry
European Integration Studies
Face perception
Silk Road
Droit Tradition orale
Parliamentary debates Speech processing
Design Empowerment
Location
Content-based image retrieval Multimodal data
Language technology Dataspaces
Narratology Database
Latent information
Digital Dante Alighieri Encyclopedia Knowledge Representation Ancestral Nation/Fatherland Semantic Network
Place
MIT
Hackathon Metadata correction PA R SON S JOU R N A L FOR INFO RM ATIO N M APPING Document editing Cultural V OLU ME V II ISSU EHeritage 2, SPRING 2015
Education
Sibling/Compatriot
Reconstruction
Facial attractiveness
Data analysis
Scholarly primitives
Data curation EHRI
Tombstones
Russia
Digital cultural heritage
Casta painting
Graph Database
SylvaDB
Longitudinal study
Venice
Language resources
History of science
Data criticism
Fluid text theory
Fuzzy data
Spanish America Depictions of race
Curation
XVIII century art
Laser scanning
Textual transmission
Digital geography
Computer vision
DigitalInfrastructure Research Infrastructure Research Data and Technical
Documentation
Pattern recognition
Maritime routes
Spanish and Portuguese Digital methods
Library science
Cultural gap
Data Modelling
WissKI
Linked Open Data
Peer-reviewing
Digital research methods International community
Digital Libraries
Taiwan
Interface design Figure 6: The keywords network displayed without and with labels. Instruction Historical documents
RDF
Global Outlook::Digital Humanities Digital collation
Ensemble
NER
Non-textual source Interpretation of maps
Corpus studies Historical databases
Peer-grading MOOC
Face recognition
Textual
Wolfram von Eschenbach's Parzival
Writing
Cultural critique
Globalisation
Metainformation
Grading Teaching
Data curation education
Open
Search Cultural
ARIADNE
NeDiMAH Europeana Cloud
Book viewers
Information visualization
Formation supérieure
Morphological analysis Old Japanese
Economic gap Economic history
Online
Persons
Digital infrastructures
Dialogue
Journals Digital cultural empowerment
Digital historical atlas
Interdisciplinarity
Events Agency
Visual culture
Resource sharing
Image Search
Physical landscape model3D printing Early modern europe
Historical GIS
Scholarly editing
Project design
Research
Web application
Teaching and research
Phylogenetic analysis
Participation
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Sources
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Video
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Timelines
Castle of Perseverance
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E-learning
Digital humanities data curation
Networks
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Integration Terminology
Geospatial
Local studies Thought Writing representation
Speech
Language processi
Computer Vision
Image Processing
Formal data modelling Spatial history
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Virtual research environments
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Digital publishing
Text collation
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Institutional structures Archiving
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Computational models Representation
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Collaborative platform Medieval legal charters
User studies
Data Federation
Dispositif hybride
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Versioning
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Scholarship
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Revenue model
Orphaned works
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Discourse
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DH pedagogy
Library catalog data Diversity Community
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Sign Language
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Discovery
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Linguistic annotation Digital Humanities
Storage
New Testament
Generic Search
Historical Persons
MySQL
Ontology
Digital collectionsIncompleteness Long-term preservation
Typesetting Analysis
Corpus research
Digital archiving
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Crowdsourcing
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Computational philology
Crosswalks
Early Geospatial Documents Radio bulletins
Web 2.0
Recommendations
Medieval documents Multilingual
Digital History
Repertoire
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Publishing
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Tibetan texts Cochran-Mantel-Haenszel test
Caribbean studies
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Critical editions
Web framework
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Music
Historical sciences
Open linked data
Linked Data
Interdisciplinary collaboration Digitisation
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Magazines Named entities
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Data sharing
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Content-based image retrieval Multimodal data
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Location
Algorithms
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Digital prosopography TEI XML
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Digital tools
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Tool building
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Restitution archéologique
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Secondary analysis
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Network analysis
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Physical collation
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Information infrastructure
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Institutional criticism
Media visualization
Students
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Latin literature
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Database modelling
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Critical theory
Palimpsests
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Research infrastructure
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Correspondence
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Infographics Digital curation
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Women's writing
Newspapers
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Machine Learning
Non-profits
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Modern manuscripts
Standards
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Literary Canon Zotero
Digital scholarship
Social networking
German
Facial recognition
Social edition
Digital heuristic Historical linguistics
Canon
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Institutional support
Idioms
Naïve Bayes
Skills
Training Named entity recognition
Stylometry
Critical database
Re-Skilling and Training
Media history
Happiness
Text analysis
Quotes Site-specificity
Arabic
Modeling
Race
Text mining
Workflow
Computer Animation
Lemmatization Unhyphenation
Web service
Research data
Melville
Omeka
Program development
Scale
Verifiable
Historical corpora
Statistical analysis
Social media
Mallet
Critical Analysis
Etymology
E-texts
Quantified self Workforce development
Narrative
Anthropology
Program Design Digital
Word disambiguation
Positive psychology Organizational capacity
Genetic criticism
Dickens
Newspaper repositories
Lexicon
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Documentary
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Syllabification
Methodology
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Multimodal composition Spatial analysis
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Transcultural approach
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Platform
Encoding
Libraries
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Genre classification
Information extraction
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Archaeological reconstruction
Digital Scholarly Communication
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Graphical User Interface
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Software Design Online curation
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Marginalia
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Georeferencing
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Source Analysis Medieval Studies Spatial Relations Round Table Discussion
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Virtual realityAugmented reality Locative Media
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Tool building
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Early Geospatial Docum Radio bulletins © 2015 PARSONS JOURNAL FOR 2.0 INFORMATION MAPPING ANDWeb PARSONS G INSTITUTE FOR Retrieval INFORMATION MAPPING Information
Algorithms
Recommendations Digital tools
Maya hieroglyphics Comparable corpora
Edition
Data Feder
REPRESENTING THE DIGITAL HUMANITIES COMMUNITY: UNVEILING THE SOCIAL NETWORK VISUALIZATION OF AN INTERNATIONAL CONFERENCE DARIO RODIGHIERO
are extended with nominal data, exactly as it was done for the authors’ network. In this case, there are three possible ways in which it is plausible to apply Peirce’s thought: 1) the object is the meaning of the keyword and the interpretant is the document, or 2) the object is the use of the term and the interpretant is the document—as an object authored by the writer—or 3) the object is the document and the interpretant is the meaning given by the author. Evaluating the best interpretant is not an easy task, but the thinking of Ludwig Wittgenstein could be helpful to pursue the scope. Wittgenstein said: “For a large class of cases of the employment of the word meaning—though not for all—this way can be explained in this way: the meaning of a word is its use in the language.” This statement suggests that scientific publications embody the specialists’ language. In Philosophical Investigations where this statement has been extracted, Wittgenstein doesn’t quote Peirce and, to be honest, Wittgenstein has never quoted Peirce in any document. However, Charles Sanders Peirce was such a prominent person, that everybody could agree on the point that Wittgenstein must have read Peirce. If considering the statement by Wittgenstein through the eyes of Peirce, “the meaning of the word is its use in the language” appears to be incredibly close to what Peirce defined as the interpretant. If he was to shift his attention to the visualization, Wittgenstein would have interpreted the keywords network in this way: a) the sign is the node with the nominal data, b) the object is the meaning of the word and c) the interpretant is what makes the relation sign/object understandable to the community: the use of the language indicates the meaning of a certain word, or simply the document intended as a medium of communication. Considering this meditation on the Signs Theory, we can claim that data visualizations sometimes reveal a deeper meaning. Behind the visual apparatus, there is a projection that connects the visual part to something represented—a projection from signs to objects. Visualization has a reductive meaning when something is represented. In the DH2014 visualizations, the authors and keywords networks are specific representations of the Digital Humanities community in a particular moment. Behind the visual display, there is a real network composed of people and themes of research. The connection between their representation and the community’s words is provided in the conference documents and the language used by professionals to describe their work. In “From Realpolitik to Dingpolitik,” the first text in “Making Things Public”, Bruno Latour discusses the way
PA R SON S JOU R N A L FOR INFO RM ATIO N M APPING V OLU ME V II ISSU E 2, SPRING 2015 [PA G E 5 ]
of doing politics, but what is useful to the argumentation is how politics and the topics of interest in politics are represented in public spaces. Latour describes his interpretation of the “objectoriented democracy” by bringing together two different meanings of the word representation: the first “designates the ways to gather the legitimate people around some issues;” the second “represents what is the object of concern to the eyes and ears of those who have been followed.” It is possible to compare politics with a conference. For the DH2014 conference, one representation is given by all authors attending the meeting, which is the definition of Digital Humanities as a discipline. If the comparison politicians/authors is explicit, the representation of the DH definition deserves a clarification: as Digital Humanities is quite a new domain, it is controversial to represent it, because of its diversity. As opposed to an authors network, the keywords network produces a special result, which is to assemble all of the documents’ keywords into a lexical representation of the domain. This representation, albeit highly unstable in time, is a steady image of the DH community in the summer of 2014. In the conference context, the object of interest is the definition of the community itself, a definition that was represented by means of a data visualization based on keywords. These keywords—the signs—are extended to the meaning of the words—the objects—whose understanding is given in the documents written by authors—the interpretants; this triple confers the visualization the authority of a representation. Since the assembly is composed of the same authors who contributed to the conference, the keywords representation could be viewed as a loop, but it is not a loop reflecting the thoughts of each participant—the definition arises from the documents as a sum of voices, one for each author, and the object of concern is not a sum, rather it is a whole where each voice has the same dignity. Thus, an author, whose voice is part of the chorus, could disagree with a definition to which he has contributed. To conclude, Latour asks, “How to represent, and through which medium, the sites where the people meet to discuss their matter of concern?” The answer is data visualization. As discussed, sometimes data visualizations could be better defined as visual representation because of what they represent. In the example of DH2014, data visualizations are designated as a representation of a community, of a definition, and of the central topic
© 2015 PARSONS JOURNAL FOR INFORMATION MAPPING AND PARSONS INSTITUTE FOR INFORMATION MAPPING
REPRESENTING THE DIGITAL HUMANITIES COMMUNITY: UNVEILING THE SOCIAL NETWORK VISUALIZATION OF AN INTERNATIONAL CONFERENCE DARIO RODIGHIERO
of interest to be discussed at a meeting, and which can be criticized and modified following to the forces that drive the domain of Digital Humanities.
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© 2015 PARSONS JOURNAL FOR INFORMATION MAPPING AND PARSONS INSTITUTE FOR INFORMATION MAPPING
REPRESENTING THE DIGITAL HUMANITIES COMMUNITY: UNVEILING THE SOCIAL NETWORK VISUALIZATION OF AN INTERNATIONAL CONFERENCE DARIO RODIGHIERO
BI O G R A PH Y
Dario Rodighiero is PhD candidate at the Doctoral School of EPFL, attending the Doctoral Program Architecture and Sciences of the Cities. He is employed as designer at the College of Humanities in the DHLAB where his supervisor, Frédéric Kaplan, is director. Previously Dario joined the European Commission and the team of AIME, headed by Bruno Latour, at the médialab of Sciences Po. He created the brand design for the CHI2013 conference in Paris and for the DH2014 conference in Lausanne.
B IB LIO GR A P HY
AA.VV. Information design. (MIT Press, 1999). AA.VV. Making things public: atmospheres of democracy. (MIT Press ; ZKM/Center for Art and Media in Karlsruhe, 2005). Atkin, A., Peirce’s Theory of Signs, The Stanford Encyclopedia of Philosophy. Summer 2013 Edition. King, B.A., Wertheimer, M., 2007. Max Wertheimer & Gestalt Theory. Transaction Publishers. Meirelles, I., 2013. Design for Information. Rockport Publishers. Purchase, H.C., Andrienko, N., Jankun-Kelly, T.J., Ward, M., 2008. Theoretical Foundations of Information Visualization, in: Kerren, A., Stasko, J.T., Fekete, J.-D., North, C. (Eds.), Information Visualization. Springer Berlin Heidelberg, Berlin, Heidelberg, pp. 46–64. Rodighiero, D., 2014. Digital Humanities 2014: representing a controverted definition. Presented at the IC Research Day 2014, Lausanne. doi:10.13140/2.1.1420.1289 Wittgenstein, L., 2003. Philosophical investigations: the German text, with a revised English translation, 3rd ed. ed. Blackwell Pub, Malden, MA.
PA R SON S JOU R N A L FOR INFO RM ATIO N M APPING V OLU ME V II ISSU E 2, SPRING 2015 [PA G E 7 ]
© 2015 PARSONS JOURNAL FOR INFORMATION MAPPING AND PARSONS INSTITUTE FOR INFORMATION MAPPING
