tag:blogger.com,1999:blog-59844296906279645612024-02-19T03:56:49.311-08:00Cultural Analytics LabUsing data science, data visualization and AI to analyze contemporary global cultureBrynnhttp://www.blogger.com/profile/07991905018229474371noreply@blogger.comBlogger34125tag:blogger.com,1999:blog-5984429690627964561.post-53569882337820679612020-05-28T03:33:00.007-07:002020-08-19T23:58:50.850-07:00"Cultural Analytics" book to be published in October 2020<ul class="post-images"><li class="image-large"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqh5mggUOnDQQT6yX6Ln_gZO_UjrNW_Kqc6fB0oaL7h_OKSBQ8y_GVvvt9uNAJVPei8_GNGznb0CMRIwOczNkCi8ZcaTgQDyn_3pOp67x6q1opPMCvrMUMDFFwc-bs45CTO3Gf9vnSFQ/s1600/9780262037105.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqh5mggUOnDQQT6yX6Ln_gZO_UjrNW_Kqc6fB0oaL7h_OKSBQ8y_GVvvt9uNAJVPei8_GNGznb0CMRIwOczNkCi8ZcaTgQDyn_3pOp67x6q1opPMCvrMUMDFFwc-bs45CTO3Gf9vnSFQ/s640/9780262037105.jpg" width="502" height="640" data-original-width="784" data-original-height="1000" /></a> <br />
<p class="caption">The cover of Lev Manovich's Cultural Analytics book (The MIT Press, 2020.)</p></li>
</ul><div class="post-text"><p>This new book by Lev Manovich brings together his insights from running the Cultural Analytics lab since 2007, directing over 40 cultural data projects, and teaching practical courses in data visualization, data science, and digital culture for many years.</p>
<h3>More information</h3>
<a href="http://manovich.net/index.php/projects/cultural-analytics" target="_blank">Book page on manovich.net</a><br />
<h3>Book summary</h3>
<p>How can we see a billion images? What analytical methods can we bring to bear on the astonishing scale of digital culture--the billions of photographs shared on social media every day, the hundreds of millions of songs created by twenty million musicians on Soundcloud, the content of four billion Pinterest boards? In Cultural Analytics, Lev Manovich presents concepts and methods for computational analysis of cultural data. Drawing on more than a decade of research and projects from his own lab, Manovich offers a gentle, nontechnical introduction to the core ideas of data analytics and discusses the ways that our society uses data and algorithms. Manovich offers examples of computational cultural analysis and discusses the shift from “new media” to “more media”; explains how to turn cultural processes into computational data; and introduces concepts for exploring cultural datasets using data visualization as well other recently developed methods for analyzing image and video datasets. He considers both the possibilities and the limitations of computational methods, and how using them challenges our existing ideas about culture and how to study it.</p><a name='more'></a>
<h3>Publication Data</h3><p>Lev Manovich. <em>Cultural Analytics</em> (The MIT Press, October 2020).
<br /> Hardcover edition - ISBN-10: 0262037106, ISBN-13: 978-0262037105<br />
E-pub edition - ASIN: B084V7XLC7.<br />
</p><h3>How to Buy The Book</h3><p><a href="https://mitpress.mit.edu/books/cultural-analytics" target="_blank">The MIT Press</a> book page. <br />
<a href="https://www.amazon.com/Cultural-Analytics-Lev-Manovich-ebook/dp/B084V7XLC7" target="_blank">Epub edition</a> on Amazon (you can read it online using free Kindle app).<br />
<a href="https://www.amazon.com/Cultural-Analytics-Lev-Manovich/dp/0262037106" target="_blank">Hardcover edition</a> on Amazon. <br />
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Lev Manovichhttp://www.blogger.com/profile/15436409168230279760noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-19303166396573337462018-09-13T12:59:00.006-07:002020-06-04T03:16:43.261-07:00"AI Aesthetics," new book by Lev Manovich<ul class="post-images"><li class="image-large"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUVCa5rP0NRqKXR9Bdoargz_A2WldE3YA6k271pgnGtvwc8Ubb79ruw3srMyzzXrl4_PYmVD2MHlYflnOB1NDXdwS_s_aowLZw__4QS3fvRWuRZJWJo9ZSWcnC8TcR4Ss2bHUN-2mFxeft/s1600/AI__book_cover_2_jpg.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUVCa5rP0NRqKXR9Bdoargz_A2WldE3YA6k271pgnGtvwc8Ubb79ruw3srMyzzXrl4_PYmVD2MHlYflnOB1NDXdwS_s_aowLZw__4QS3fvRWuRZJWJo9ZSWcnC8TcR4Ss2bHUN-2mFxeft/s1600/AI__book_cover_2_jpg.jpg" /></a> <p class="caption">Lev Manovich. AI Aesthetics. Moscow: Strelka Press, 2018.</p></li>
</ul><div class="post-text"><p>AI plays a crucial role in global cultural ecosystem. It recommends what we should see, listen to, read, and buy. It determines how many people will see our shared content. It helps us make aesthetic decisions when we create media. In professional cultural production, AI has already been adopted to produce movie trailers, music albums, fashion items, product and web designs, architecture, etc.</p><p>In the new book <em>AI Aesthetics</em> (2018), Lev Manovich offers a systematic framework to help us think about the cultural uses of AI today and in the future. He challenges existing ideas and gives us new concepts for understanding media, design, and aesthetics in the AI era.</p><a name='more'></a> <h3>Publication Data</h3><p>Lev Manovich. <em>AI Aesthetics</em> (Moscow: Strelka Press, December 2018). The book is in English and distributed as e-pub on amazon.com; Russian translation will be available at a later date.</p><h3>About the Publisher</h3><p><a href="https://strelka.com/en/press/books" target="_blank">Strelka Press</a> is a digital-first publisher of new writing on architecture, design and the city. </div>Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-2308918320995017882018-07-31T10:56:00.001-07:002018-07-31T11:07:22.750-07:00Our new project explores the history of photography magazine Sovetskoe Foto, 1926–1991<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVVoeNqA5zinpyr095Hmhrdt0wHXZlYPQfWNugtY80pnvKmVLr5gPj5IFWdNZHlbAJBoHMUuykU_vj4f_dQ06pHQY75-w166gDgTIFXWMUfhyphenhyphenDlh9564uibwwSI7v3PBJKL9l5xotYa9B/s1600/Three_Covers_JPG.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVVoeNqA5zinpyr095Hmhrdt0wHXZlYPQfWNugtY80pnvKmVLr5gPj5IFWdNZHlbAJBoHMUuykU_vj4f_dQ06pHQY75-w166gDgTIFXWMUfhyphenhyphenDlh9564uibwwSI7v3PBJKL9l5xotYa9B/s1600/Three_Covers_JPG.jpg" /></a>
<p class="caption">Sovetskoe Foto covers: October 1927 (left), January 1934 (middle), August–September 1991 (right). View and download full-size images on
<a href="https://www.flickr.com/photos/culturevis/sets/72157696384912572" target="_blank">Flickr</a>.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqTeAjeBHoJWFoVGG39ZicOcE_Wys31JXJoUpT2FnNvzni3E2onHEZOB2gHe_Ql0mUnAN6p-oInPhJS7junI8MlG0A1cFOVprAQ2cPMXh0TD2JGgbcYeqshHA_4AP7-MIzMe3RBETLpXMr/s1600/01_covers_ALL_by_date_AT_LM_LM_resize.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqTeAjeBHoJWFoVGG39ZicOcE_Wys31JXJoUpT2FnNvzni3E2onHEZOB2gHe_Ql0mUnAN6p-oInPhJS7junI8MlG0A1cFOVprAQ2cPMXh0TD2JGgbcYeqshHA_4AP7-MIzMe3RBETLpXMr/s1600/01_covers_ALL_by_date_AT_LM_LM_resize.jpg" /></a>
<p class="caption">Montage of available Sovetskoe Foto covers published between 1926 and 1991. Visualization by Alise Tifentale, image editing by Lev Manovich. Scroll down to see a larger image in Figure 1. View and download full-size image on <a href="https://www.flickr.com/photos/culturevis/28809275777/sizes/o/" target="_blank">Flickr</a>.</p>
</li>
</ul>
<div class="post-text">
<p>Published in Moscow, Russia, from 1926 to 1991, <em>Sovetskoe Foto</em> (Soviet Photography) was the only specialized photography magazine in the Soviet Union, aimed at a broad audience of professional photojournalists and amateur photographers. As such, it is unequaled in representing the official photographic culture of the USSR throughout the history of this country. We explore the digital archive of <em>Sovetskoe Foto</em> to find out what it can tell us about the history of this remarkable magazine and the twentieth-century photography in general.</p>
<a name='more'></a>
<h3>Authors</h3>
<p> Lev Manovich, Alise Tifentale, and Agustín Indaco. 2018.</p>
<h3>Selected Visualizations</h3>
<p>View and download full-size images on <a href="https://www.flickr.com/photos/culturevis/sets/72157696384912572" target="_blank">Flickr</a>.</p>
<h3>Project Page</h3>
<p>Learn more about the research on the project page <a href="http://lab.culturalanalytics.info/2018/07/exploring-photography-magazine.html" target="_blank">Exploring photography magazine <em>Sovetskoe Foto</em>, 1926–1991</a>.</p>
<h3>Article</h3>
<p>Alise Tifentale, “Seeing a Century Through the Lens of <em>Sovetskoe Foto</em>,” 2018. Read the full-text article on <a href="http://lab.culturalanalytics.info/2018/07/exploring-photography-magazine.html" target="_blank">Exploring photography magazine <em>Sovetskoe Foto</em>, 1926–1991</a> or <a href="http://www.alisetifentale.net/article-archive/sovetskoefoto" target="_blank">download a pdf</a>.</p>
<p>This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by-nc-nd/4.0/"target="_blank">Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License</a>.<p>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-87481054832717483822018-07-13T14:34:00.001-07:002018-07-31T11:08:08.419-07:00Exploring photography magazine Sovetskoe Foto, 1926–1991<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVVoeNqA5zinpyr095Hmhrdt0wHXZlYPQfWNugtY80pnvKmVLr5gPj5IFWdNZHlbAJBoHMUuykU_vj4f_dQ06pHQY75-w166gDgTIFXWMUfhyphenhyphenDlh9564uibwwSI7v3PBJKL9l5xotYa9B/s1600/Three_Covers_JPG.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVVoeNqA5zinpyr095Hmhrdt0wHXZlYPQfWNugtY80pnvKmVLr5gPj5IFWdNZHlbAJBoHMUuykU_vj4f_dQ06pHQY75-w166gDgTIFXWMUfhyphenhyphenDlh9564uibwwSI7v3PBJKL9l5xotYa9B/s1600/Three_Covers_JPG.jpg" /></a>
<p class="caption">Sovetskoe Foto covers: October 1927 (left), January 1934 (middle), August–September 1991 (right). View and download full-size images on
<a href="https://www.flickr.com/photos/culturevis/sets/72157696384912572" target="_blank">Flickr</a>.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqTeAjeBHoJWFoVGG39ZicOcE_Wys31JXJoUpT2FnNvzni3E2onHEZOB2gHe_Ql0mUnAN6p-oInPhJS7junI8MlG0A1cFOVprAQ2cPMXh0TD2JGgbcYeqshHA_4AP7-MIzMe3RBETLpXMr/s1600/01_covers_ALL_by_date_AT_LM_LM_resize.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqTeAjeBHoJWFoVGG39ZicOcE_Wys31JXJoUpT2FnNvzni3E2onHEZOB2gHe_Ql0mUnAN6p-oInPhJS7junI8MlG0A1cFOVprAQ2cPMXh0TD2JGgbcYeqshHA_4AP7-MIzMe3RBETLpXMr/s1600/01_covers_ALL_by_date_AT_LM_LM_resize.jpg" /></a>
<p class="caption">Montage of available Sovetskoe Foto covers published between 1926 and 1991. Visualization by Alise Tifentale, image editing by Lev Manovich. Scroll down to see a larger image in Figure 1. View and download full-size image on <a href="https://www.flickr.com/photos/culturevis/28809275777/sizes/o/" target="_blank">Flickr</a>.</p>
</li>
</ul>
<div class="post-text">
<p>Published in Moscow, Russia, from 1926 to 1991, <em>Sovetskoe Foto</em> (Soviet Photography) was the only specialized photography magazine in the Soviet Union, aimed at a broad audience of professional photojournalists and amateur photographers. As such, it is unequaled in representing the official photographic culture of the USSR throughout the history of this country. We explore the digital archive of <em>Sovetskoe Foto</em> to find out what it can tell us about the history of this remarkable magazine and the twentieth-century photography in general.</p>
<a name='more'></a>
<h3>Authors</h3>
<p> Lev Manovich, Alise Tifentale, and Agustín Indaco. 2018.</p>
<h3>Selected Visualizations</h3>
<p>View and download full-size images on <a href="https://www.flickr.com/photos/culturevis/sets/72157696384912572" target="_blank">Flickr</a>.</p>
<h3>Article</h3>
<p>Alise Tifentale, “Seeing a Century Through the Lens of <em>Sovetskoe Foto</em>,” 2018. Read the full-text article below, or <a href="http://www.alisetifentale.net/article-archive/sovetskoefoto" target="_blank">download a pdf</a>.</p>
<p>This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by-nc-nd/4.0/"target="_blank">Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License</a>.<p>
<br> </br>
<h1>Seeing a Century Through the Lens of <em>Sovetskoe Foto</em></h1>
<p>Alise Tifentale</p>
<p>Avant-garde artist Aleksandr Rodchenko’s mother, Stalin, and a semi-nude female model do not have much else in common apart from the fact that they all have appeared on the covers of the magazine <em>Sovetskoe Foto</em> (Soviet Photography) at different times. Published in Moscow, Russia, from 1926 to 1991, <em>Sovetskoe Foto</em> was the only specialized photography magazine in the Soviet Union, aimed at a broad audience of professional photojournalists and amateur photographers. As such, it is unequaled in representing the official photographic culture of the USSR throughout the history of this country.</p>
<p>Regardless of the cultural isolation of the Soviet Union on an official level, the magazine demonstrates that this photographic culture often overlapped with the leading paradigms of photography evolving in other countries at the same time. Thus, for example, depictions of families, children, workers, and popular festivities in the 1960s are reminiscent of the visual language of humanist photography which we are accustomed to associate with the American illustrated magazine <em>Life</em> and photography exhibition <em>The Family of Man</em>, opened in New York’s Museum of Modern Art in 1955. Portraits, sports reportages, and cityscapes as well as experiments with color or optical distortions from the 1970s and 1980s, meanwhile, can be mistaken for the images in the leading Western photography magazines of the time such as <em>Camera</em>, published in Switzerland. The covers of <em>Sovetskoe Foto</em> demonstrate that photographers in this country often employed the same visual devices that their peers abroad who were working in different political regimes, cultural contexts, and economic circumstances.<p>
<p>Despite its immense cultural significance, the magazine is still largely understudied. Art historians such as Benjamin Buchloh, Leah Dickerman, Christina Lodder, Margarita Tupitsyn, and Erika Wolf have written about Soviet avant-garde photography of the 1920s and early 1930s. Few other historians have discussed photography in Soviet Union in the 1960s and 1970s, for example, Konstantin Akinsha, Elena Barkhatova, Susan Emily Reid, Valery Stigneev, and Jessica Werneke (see the Bibliography section at the end of the post for references). Complete history of the magazine, however, is yet to be written.</p>
<p>Thus, when the digitalized issues of this magazine became available on <a href="https://archive.org/details/sovetskoe_foto" target="_blank">Archive.org</a> in spring 2017, we were excited to explore the dataset and see what it can tell us about the history of this remarkable magazine and the twentieth-century photography in general. The team working on the project included Lev Manovich, the Director of the Cultural Analytics Lab, and two research fellows at the Lab, Agustín Indaco and Alise Tifentale. We downloaded the available data in April 2017. Then we conducted analysis and visualizations in two stages, the first in May 2017 and second in June 2018. In this article, I summarize some of our observations about the dataset and present examples of the visualizations I made.</p>
<h3>Dataset</h3>
<p>First, a note about the dataset. The magazine issues were shared on Archive.org in pdf format, each pdf file containing one issue. Agustín Indaco used the popular free R project software to scrape all the pages from the archive of <em>Sovetskoe Foto</em> issues from Archive.org (available on <a href="https://github.com/majorgreys/scrape-sovetskoe" target="_blank">GitHub</a>). Then he used Mac Automator tool to extract the cover from each issue and then convert them into jpg format. The resulting output was a dataset with 455 magazine covers. He also prepared a metadata file containing the filenames of all converted images.</p>
<p>While working on this, we discovered that some magazine covers in the dataset are duplicates, some appeared to be scanned only partially, and the quality of the scanned images was inconsistent—all that can be expected from a recently digitalized historical material. In order to explore the dataset and start making visualizations, first I made my own working version of the metadata file. I cleaned up the data—identified duplicates, removed those filenames which referred to images that were not covers or were not fully scanned covers, etc. To the already existing metadata I manually added a column with a date of publication for each issue, so it is possible to arrange and visualize the magazine covers in chronological order of their publication. This initial clean-up left us with a dataset of total of 401 good images—valid full magazine covers with no duplicates or partial scans. This number reflects only the number of cover images in this particular dataset, not the number of all issues of <em>Sovetskoe Foto</em> ever published.</p>
<p><em>Sovetskoe Foto</em> was published monthly with some exceptions. For example, in 1929 and 1930, it was published twice a month, and in 1934—once in two months. The magazine’s publication was suspended between 1942 and 1956 because of the Second World War and the subsequent slow recovery of the country’s economy. Furthermore, several years had a double issue among the regular, monthly issues. Besides these irregularities in publication, the dataset is not a complete set of all issues ever published. The availability of the magazine issues is the spottiest in the 1960s. For example, the dataset contains only one issue from 1962, two from 1963 and 1964, and three from 1966. The availability improves in the 1970s and 1980s, and for most years in these decades the dataset contains all eleven or twelve issues per year that were published.</p>
<h3>Visualizations</h3>
<p>The life of <em>Sovetskoe Foto</em> spans all the major episodes of the region’s cultural and political history. These episodes include the post-revolutionary Soviet avant-garde of the 1920s and the following onset of the Stalin’s dictatorship in the 1930s. The magazine also covers the postwar years and the Khrushchev’s Thaw of the 1960s. It marches through the stagnation and downslide of the Soviet economy in the 1970s. Finally, it witnesses the gradual changes that took place in the 1980s leading to the final collapse of the USSR in 1991, which was also the year when the last issue of <em>Sovetskoe Foto</em> was published. The magazine covers reflected the historical specificity of each of these moments. This article offers one way of exploring this history through a series of visualizations that begin with a more distant overview of all magazine covers and gradually zoom in until we are looking at a single cover.<p>
<h3>1. Montage of all magazine covers in dataset</h3>
<p></p>
<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgls7R6JVuiAc7NDr1tofi42-vBzgp6pAYLgZYAdDIM5yFZ_HKX8PPhWd-Kg3HAt5NGoHOFdS7qRvd_uAQ310Q6FrAj7_Pwqw0Yk1x-mzPlmaoPfz5bxrx4t2ckUSheMwZyXBMIHrBI-gN_/s1600/01_covers_ALL_by_date_AT.LM.LM.jpg" target="_blank" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdG3zW7uYwmA0IXOvILRFXowTO9MQCSu3derW1Fl3yD6AwRM9n6p1GFMVgJXP9tvLCPVHlnlSE-QM040eKM9Oc-5SlIjzGDpGlaSXOardwQOdzPamPukirPqvOwMEb8UhzyeUjRWC78t2W/s1600/01_covers_ALL_by_date_AT_LM_LM_top_crop.jpg" /></a>
<p class="caption">Figure 1. Close-up detail of a montage of all available Sovetskoe Foto covers published between 1926 and 1991. Click on the image to see a larger image (opens in a new tab). View and download full-size image on <a href="https://www.flickr.com/photos/culturevis/28809275777/sizes/o/" target="_blank">Flickr</a>. Visualization by Alise Tifentale, image editing by Lev Manovich.</p>
</li>
</ul>
<p>The montage in Figure 1 displays the magazine covers in chronological order, starting from top left (1926) and ending at the bottom right (1991). This view lets us notice changes over time in the magazine cover design. As this montage reveals, the basic elements of the cover design remained relatively unchanged despite the different political and socioeconomic circumstances throughout the century. Starting from its first year, the dominant feature of the cover was a single photograph. Meanwhile, the position and typeface of the magazine’s title goes through several transformations, from the bold duplication of the title on top and bottom of the cover in 1926 (see the top row of the visualization) to the much subtler and smaller rendition of its name on the top of the cover in 1991 (see the bottom row of the visualization). </p>
<p>Figure 1 reveals an interesting dynamic in the use of color. In the 1920s and 1930s (approximately the upper third of the montage), color was added to some black and white photographs by printing the whole cover in monotone in color other than black—for example, green or red. To some other covers with black and white photographs, color was introduced in the form of rectangular blocks in single, bold additional colors such as red, yellow, or green on top, bottom, or sides of the cover. In the 1970s (approximately the middle section of the montage), the magazine developed a distinctly monochromatic, black and white look—its title was printed in black on plain white background close to the top of the cover, while a photograph was reproduced below. Finally, some color returns again in the 1980s (approximately the lower third of the montage), when <em>Sovetskoe Foto</em> covers start featuring color photographs whose visual impact, however, is diminished by the smaller size of the images and the surrounding black or light grey area.</p>
<h3>2. Montages of magazine covers published before and after the Second World War</h3>
<p> </p>
<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD9yMpf4_RmUUoFV4B1IDx39sTH1MhL4tzqZCkj2UuSrvJ01qfiN1X5rjz8PQ9cRcY53i5Yf1PYiu8jPthuZsrPb2WEpYPrjKrimyhPHt9FvlbG7frdWUnbGviDriMFEO55DZ3HcZ7wAJB/s1600/02_Covers_before_WW2_AT_LM.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD9yMpf4_RmUUoFV4B1IDx39sTH1MhL4tzqZCkj2UuSrvJ01qfiN1X5rjz8PQ9cRcY53i5Yf1PYiu8jPthuZsrPb2WEpYPrjKrimyhPHt9FvlbG7frdWUnbGviDriMFEO55DZ3HcZ7wAJB/s1600/02_Covers_before_WW2_AT_LM.jpg" /></a>
<p class="caption"> Figure 2.1. Montage of available Sovetskoe Foto covers published before the Second World War. View and download full-size image on <a href="https://www.flickr.com/photos/culturevis/29828416718/sizes/o/" target="_blank">Flickr</a>. Visualization by Alise Tifentale, image editing by Lev Manovich.</p>
</li>
</ul>
<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjHf6bbr4jnVWrxSePu8Z7POcpE3MY9nsVrbIrxYdRjUyblIaxLF6xPqa0KBUuVG2H0i7PEPu_HMBFJAIWixCIsaRqA-9xHCbgsak5qv-HjrFSVT9fn1nev1tUjwyTxKDWA60XvFWujHAf/s1600/03_Covers_post_WW2_AT.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjHf6bbr4jnVWrxSePu8Z7POcpE3MY9nsVrbIrxYdRjUyblIaxLF6xPqa0KBUuVG2H0i7PEPu_HMBFJAIWixCIsaRqA-9xHCbgsak5qv-HjrFSVT9fn1nev1tUjwyTxKDWA60XvFWujHAf/s1600/03_Covers_post_WW2_AT.jpg" /></a>
<p class="caption">Figure 2.2. Montage of available Sovetskoe Foto covers published after the Second World War. View and download full-size image on <a href="https://www.flickr.com/photos/culturevis/42795435145/sizes/o/" target="_blank">Flickr</a>. Visualization by Alise Tifentale.</p>
</li>
</ul>
<p>These two montages represent a slightly more close-up view that can point to some major stylistic shifts in the types of cover photographs as well as the design. The montage in Figure 2.1 shows all the covers of <em>Sovetskoe Foto</em> from the dataset published before the Second World War, while Figure 2.2—all covers of the magazine published after the war. Covers in these montages are arranged chronologically, starting from the earliest on the upper left corner and ending with the latest on the lower right corner. It was interesting to make these montages because the Second World War marks an extremely significant historical shift in the history of the Soviet Union. The montages, however, point also to similarities and certain continuity in the visual language of these two distinct historical periods.
In this distant view, the magazine covers published before the Second World War look quite similar. The images selected for the cover are visually striking and are based on strong contrasts between the object and background, one dominant expressive shape, and geometric, strong compositions. Many of these images are close-up portraits or human figures in movement—athletes, workers, and revolutionary leaders.</p>
<p>Postwar covers, in comparison, look more varied, but we can observe some larger trends. The covers published in the 1960s and early 1970s (the upper half of the montage) seem to continue the editorial approach of the prewar <em>Sovetskoe Foto</em>: the photograph takes up all or almost all cover, and features a bold, visually captivating main object such as a portrait or human figure that stands out on a more neutral background. Covers from the late 1970s and 1980s (the lower half of the montage), however, display a more varied approach to selecting cover image. Although portraits and depictions of human figure often reoccur, there are numerous images featuring large amount of small details that differs from the visual clarity and simplicity of the prewar covers.</p>
<h3>3. Magazine covers visualized by decade</h3>
<p> </p>
<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinZxdaAZOX6ArBGCufy__StQEaJJLIVZKyrR8QR7RQ1svsG4tnfkGepHWV9eaX3t4qt1J27ZRvaSM3WJ5nchlmmIQZXpqziPbjOIkkc-PdkPwZEfv6_WvzGb-aC1EdaogFNwkR98lzlV1Z/s1600/04_Covers_1920s_AT_LM.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinZxdaAZOX6ArBGCufy__StQEaJJLIVZKyrR8QR7RQ1svsG4tnfkGepHWV9eaX3t4qt1J27ZRvaSM3WJ5nchlmmIQZXpqziPbjOIkkc-PdkPwZEfv6_WvzGb-aC1EdaogFNwkR98lzlV1Z/s1600/04_Covers_1920s_AT_LM.jpg" /></a>
<p class="caption">Figure 3.1. Montage of available Sovetskoe Foto covers published in the 1920s. View and download full-size image on <a href="https://www.flickr.com/photos/culturevis/42795467145/sizes/o/" target="_blank">Flickr</a>. Visualization by Alise Tifentale, image editing by Lev Manovich.</p>
</li>
</ul>
<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX2ytFF2xcxEigPf3NjXihlXTRe7u2PJ01l5TiFHiN7-5FJtQsyhb30raRA_YDI1P16sH4a7mZDlTtHDAsRoEN3WUwlJI408oZUj7xJNU-E1Ux9f8i476B6wjupgIaenR8xzHJf09HzuqN/s1600/05_Covers_1930s_AT_LM.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX2ytFF2xcxEigPf3NjXihlXTRe7u2PJ01l5TiFHiN7-5FJtQsyhb30raRA_YDI1P16sH4a7mZDlTtHDAsRoEN3WUwlJI408oZUj7xJNU-E1Ux9f8i476B6wjupgIaenR8xzHJf09HzuqN/s1600/05_Covers_1930s_AT_LM.jpg" /></a>
<p class="caption">Figure 3.2. Montage of available Sovetskoe Foto covers published in the 1930s. View and download full-size image on <a href="https://www.flickr.com/photos/culturevis/29828417828/sizes/o/" target="_blank">Flickr</a>. Visualization by Alise Tifentale, image editing by Lev Manovich.</p>
</li>
</ul>
<p>These two montages offer even more detailed, close-up view of individual magazine covers, at the same time emphasizing their continuity. The montage in Figure 3.1 displays the covers of <em>Sovetskoe Foto</em>: published in the 1920s, the Figure 3.2—in the 1930s. Covers in these montages are arranged chronologically, starting from the earliest on the upper left corner and ending with the latest on the lower right corner. The 1920s and 1930s are the decades in Soviet art history that art historians have studied the most, therefore it was interesting for us to make these montages and see how the covers of <em>Sovetskoe Foto</em>: reflect the historical developments of these years.</p>
<p>The montage of the <em>Sovetskoe Foto</em>: covers from the 1920s in Figure 3.1 reveal an experimental and adventurous approach to photography as well as design and typeface. The lettering on the cover evolves from the visually strong block letters that repeat the magazine’s name on the top and bottom of the cover in 1926 (top rows of the first montage) to more delicate and smaller lettering on the top of the cover in 1929 (bottom row of the first montage). The cover images are dynamic and emphasize movement either in composition or the pose of depicted figures.</p>
<p>Although it is not visible in such a distant view as this montage, between 1931 and 1933 the magazine came out under the name of <em>Proletarskoe Foto</em> (Proletarian Photography). The intended stronger emphasis on worker photography, however, cannot be detected from this distant view. Most of the magazine covers from the 1930s in the second montage seem to continue the modernist trend of the 1920s. Extreme close-ups of faces appear interchangeably with figures in movement as well as photographs evoking repetitive patterns or exploring dynamic geometric compositions.</p>
<p>Although <em>Sovetskoe Foto</em>: represented the best of Russian avant-garde photography and design in its early years, it gradually became more and more conservative and the Soviet political propaganda on its cover—more and more simplistic. The last images in the montage in Figure 3.2 are from 1934 and signal the oppression of creativity and experimental arts under Stalin’s rule—the cover is designed in a classicizing manner, leaving lots of empty space around a centered image that often was an official portrait of Stalin or some other important figure of the regime.</p>
<h3>4. Close-up of individual magazine covers</h3>
<p> </p>
<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVVoeNqA5zinpyr095Hmhrdt0wHXZlYPQfWNugtY80pnvKmVLr5gPj5IFWdNZHlbAJBoHMUuykU_vj4f_dQ06pHQY75-w166gDgTIFXWMUfhyphenhyphenDlh9564uibwwSI7v3PBJKL9l5xotYa9B/s1600/Three_Covers_JPG.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVVoeNqA5zinpyr095Hmhrdt0wHXZlYPQfWNugtY80pnvKmVLr5gPj5IFWdNZHlbAJBoHMUuykU_vj4f_dQ06pHQY75-w166gDgTIFXWMUfhyphenhyphenDlh9564uibwwSI7v3PBJKL9l5xotYa9B/s1600/Three_Covers_JPG.jpg" /></a>
<p class="caption">Figure 4. Sovetskoe Foto covers: October 1927 (left), January 1934 (middle), August–September 1991 (right). View and download full-size images on
<a href="https://www.flickr.com/photos/culturevis/sets/72157696384912572" target="_blank">Flickr</a>.</p>
</li>
</ul>
<p>Only the study of individual magazine issues can fully reveal the profound differences in the magazine’s design and layout as well as the choice of cover images. For example, the October 1927 issue of <em>Sovetskoe Foto</em>prominently features Russian avant-garde artist and photographer Aleksandr Rodchenko’s iconic photograph <em>Mother</em> (1924). Meanwhile, starting from the early 1930s, instead of creative and experimental photographic images, the depictions of Lenin and Stalin appear more often on the magazine covers. For example, one of Stalin’s portraits is on the cover of January 1934 issue. Art historian Ksenia Nouril notes: “It was in the pages of Sovetskoe Foto that the works of avant-garde photographers, including Aleksandr Rodchenko, were denounced as formalist (implying that they reflected a foreign and elitist style), even before Socialist Realism was decreed to be the official style of the Soviet Union, in 1934. In a letter published in April 1928, an anonymous author accused Rodchenko of plagiarizing the subject matter and compositions of Western European photographers László Moholy-Nagy and Albert Renger-Patzsch.” (Ksenia Nouril, “<a href="https://www.moma.org/interactives/objectphoto/publications/785.html" target="_blank"><em>Sovetskoe Foto</em>. About the Publication</a>,” in Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949 at The Museum of Modern Art. December 8, 2014.)</p>
<p>Another kind of change can be observed in the last years of the magazine’s publication. This change is best embodied by the cover of August–September 1991 issue of <em>Sovetskoe Foto</em> that features a semi-nude female model photographed from the back in an interior filled with books, flowers, and various objects such as the prominently displayed label on a bottle of Gordon’s London dry gin (<em>Actress</em> by Russian photographer Valery Plotnikov). At that time, such images were perceived by many photographers as a liberating alternative to the gender-neutral official Soviet press imagery of the previous decades.</p>
<p>Our first analysis confirms that the digitalized magazine issues can serve as a useful tool in more detailed mapping of the developments in Soviet photography throughout the twentieth century and contextualizing them as part of new, more inclusive and global photography history.</p>
<h3>Bibliography</h3>
<li><p>Akinsha, Konstantin. “Painting versus Photography. A Battle of Mediums in Twentieth-Century Russian Culture.” In Diane Neumaier, ed., <em>Beyond Memory. Soviet Nonconformist Photography and Photo-Related Works of Art</em> (New Brunswick, New Jersey, and London: The Jane Voorhees Zimmerli Art Museum and Rutgers University Press, 2004): 31–45. </p> </li>
<li><p>Barkhatova, Elena. “Soviet Policy on Photography.” In Diane Neumaier, ed., <em>Beyond Memory. Soviet Nonconformist Photography and Photo-Related Works of Art</em> (New Brunswick, New Jersey, and London: The Jane Voorhees Zimmerli Art Museum and Rutgers University Press, 2004): 47–65. </p></li>
<li><p>Buchloh, Benjamin H. D. “From Faktura to Factography.” <em>October</em> 30 (1984): 83–119. DOI: <a href="https://www.jstor.org/stable/778300" target="_blank">10.2307/778300</a></p></li>
<li><p>Dickerman, Leah. “The Fact and the Photograph.” <em>October</em> 118 (2006): 132–152. DOI: <a href="https://doi.org/10.1162/octo.2006.118.1.132" target="_blank">10.1162/octo.2006.118.1.132</a></p></li>
<li><p>Lodder, Christina. “Revolutionary Photography.” In Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds. <em>Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949 </em>. New York: The Museum of Modern Art, 2014. <a href="https://www.moma.org/interactives/objectphoto/assets/essays/Lodder.pdf" target="_blank">Download pdf.</a></p> </li>
<li><p>Nouril, Ksenia. “Sovetskoe Foto. About the Publication,” in Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, <em>Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949 at The Museum of Modern Art</em>. December 8, 2014. <a href="https://www.moma.org/interactives/objectphoto/publications/785.html" target="_blank">Read online.</a></p> </li>
<li><p>Reid, Susan Emily. “Photography in the Thaw.” <em>Art Journal</em> 53, no. 2 (1994): 33–39. DOI: <a href="https://doi.org/10.1080/00043249.1994.10791623" target="_blank">10.1080/00043249.1994.10791623</a></p></li>
<li><p>Stigneev, Valery. “The Force of the Medium. The Soviet Amateur Photography Movement.” In Diane Neumaier, ed., <em>Beyond Memory. Soviet Nonconformist Photography and Photo-Related Works of Art</em> (New Brunswick, New Jersey, and London: The Jane Voorhees Zimmerli Art Museum and Rutgers University Press, 2004): 67–73. </p> </li>
<li><p>Tupitsyn, Margarita. <em>The Soviet Photograph, 1924–1937</em>. New Haven: Yale University Press, 1996.</p> </li>
<li><p>Werneke, Jessica. “Reimagining the History of the Avant-garde: Photography and the Journal Sovetskoe Foto in the 1950s and Early 1960s.” <em>The Soviet and Post-Soviet Review</em> 44, no. 3 (2017): 264–291. <a href="http://booksandjournals.brillonline.com/content/journals/10.1163/18763324-20171226" target="_blank">Link to the article.</a> </p> </li>
<li><p>Wolf, Erika. “The Soviet Union: From Worker to Proletarian Photography.” In Jorge Ribalta, ed., <em>The Worker Photography Movement, 1926–1939: Essays and Documents</em> (Madrid: Museo Centro de Arte Reina Sofía, 2011): 32–46. </p> </li>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-33335352723303434292018-07-02T16:37:00.001-07:002018-07-13T12:39:56.968-07:00Japanese Translation of “Instagram and Contemporary Image” by Lev Manovich <ul class="post-images"><li class="image-large"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGl2Gd6v8hihOAlvtaQJW3AQNSksRWSHh3s614puBWIaaIXA0Zyhkmt0HcxnN_WfOnP4qoSPFjKnix0d4r2zvmNXLbPTCZ4sb-e4UpU3FO2twmkj82KjBmX13uK6luzoJXBUz-6yaKrw/s1600/boo1_preview_2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGl2Gd6v8hihOAlvtaQJW3AQNSksRWSHh3s614puBWIaaIXA0Zyhkmt0HcxnN_WfOnP4qoSPFjKnix0d4r2zvmNXLbPTCZ4sb-e4UpU3FO2twmkj82KjBmX13uK6luzoJXBUz-6yaKrw/s1600/boo1_preview_2.jpg" data-original-width="1328" data-original-height="1600" /></a> <br />
</li>
<p class="caption">Top: Cover of the Japanese translation of <em><a href="http://manovich.net/index.php/projects/instagram-and-contemporary-image" target="_blank">Instagram and Contemporary Image </a></em> by Lev Manovich (2018). Bottom: Book pages showing selected Instagram images from a number of users from Asia and Eastern Europe.</p><li class="image-large"> <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9iDQya1mn_JRPSmsQPeTalDEON4yJYpa_ZxejuUNo11Ju9QNS73wWhq7ohYMohdc4H7K28Tzj8rVrQck-uBgW6nCHis0UlHL-kPtuQtjMhiLZxhfBLkeCO0W4ilMz6RrPKFoLs2EyDg/s1600/images_preview-1n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9iDQya1mn_JRPSmsQPeTalDEON4yJYpa_ZxejuUNo11Ju9QNS73wWhq7ohYMohdc4H7K28Tzj8rVrQck-uBgW6nCHis0UlHL-kPtuQtjMhiLZxhfBLkeCO0W4ilMz6RrPKFoLs2EyDg/s1600/images_preview-1n.jpg" data-original-width="1600" data-original-height="1080" /></a><br />
</li>
</ul><div class="post-text"><p>The Japanese translation of <em><a href="http://manovich.net/index.php/projects/instagram-and-contemporary-image" target="_blank">Instagram and Contemporary Image</a></em>, a 2017 book by Lev Manovich.</p>
<a name='more'></a>
<p>The Japanese book also inclides contributions by nine Japanese authors.</p>
<p>Publisher: BNN, Tokyo. Date of publication: June 26, 2018. 376 pages. ISBN 978-4-8025-1101-8. </p>
<p>Other authors whose contributions are included in the edition are:</p>
<ul><li>Kiritorimederu</li>
<li>Akihiro Kubota</li>
<li>Yoshiaki Kai</li>
<li>Kouichiro Shibao</li>
<li>Junya Tsutsui</li>
<li>Kosuke Nagata</li>
<li>Barbora</li>
<li>Osamu Maekawa</li>
<li>Nobuhiro Masuda</li>
</ul>
<p>More information about the book in Japanese on the publisher’s website: <a href=" http://www.bnn.co.jp/books/9316/" target="_blank">http://www.bnn.co.jp/books/9316/ </a></p>
<h3>More about <em>Instagram and Contemporary Image</em></h3>
<p><em><a href="http://manovich.net/index.php/projects/instagram-and-contemporary-image" target="_blank">Instagram and Contemporary Image </a></em> by Lev Manovich is the first in-depth study of Instagram that combines methods from art history, media studies, and data science, and draws on computational analysis of 16 million Instagram photos shared in 17 global cities since 2012. The data collection and analysis were performed in Manovich's Cultural Analytics Lab in the Qualcomm Institute (UCSD Division of the California Institute for Telecommunications and Information Technology).</p>
<p>Millions of people around the world today use digital tools and platforms to create and share sophisticated cultural artifacts. This book focuses on one such platform: Instagram. It places Instagram image culture within a rich cultural and historical context, including history of photography, cinema, graphic design, and social media, contemporary design trends, music video, and k-pop. At the same it uses Instagram as a window into the identities of first truly global generation connected by common social media platforms, programming languages, and visual aesthetics.</p>
<p>Full text of the book in English is available as free PDF: <a href="http://manovich.net/index.php/projects/instagram-and-contemporary-image" target="_blank">http://manovich.net/index.php/projects/instagram-and-contemporary-image </a>.</p><p>The book was published under <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/" target="_blank">Attribution-NonCommercial-NoDerivatives 4.0 International </a>Creative Commons license.</p></div>Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-33639472116451186982018-01-22T11:36:00.004-08:002018-07-02T16:17:09.762-07:00"Theories of Software Culture" (Теории софт-культуры): New Book by Lev Manovich in Russian<ul class="post-images">
<li class="image-large">
<a href="http://manovich.net/index.php/projects/theories-of-software-cultures" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL_ChLHjkj4cGq5XV7HdghR59B-vcJqYPaUTSJAaYTb1Zr_Kl-ZsbEfHAerW18SXweA5Jm9pErREN8ovMi6MOFnhkVGfk18UsVGyYznzN4OOCPKv1pjSnyo5fuGRVHQzifh2o-nPBDExDw/s1600/Theories_of_SoftCultures.JPG" /></a>
<p class="caption">Lev Manovich. Theories of Software Culture. 2017.</p>
</li>
</ul>
<div class="post-text">
<p>New book by Lev Manovich in Russian: <em>Theories of Software Culture</em> (2017). Манович Л. <em>Теории софт-культуры</em> (Нижний Новгород: Красная ласточка, 2017). 208 pages, ill. ISBN 978-5-9908655-2-5</p>
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<h3>Book description in English</h3>
<p>The book <a href="http://manovich.net/index.php/projects/theories-of-software-cultures" target="_blank"><em>Theories of Software Culture</em> </a> features selected articles by Lev Manovich, one of the world's leading media theorists and the director of the Cultural Analytics Lab. The book includes key works written between 1999 and 2005. Manovich analyzes new media in the context of history of art, cinema, mass media, and design. He introduces into scholarly discourse new concepts such as "cultural software" and "information aesthetics." The book pays special attention to the issues of using "big data" and application of hard sciences' methodology for studying the content of social networks and cultural archives.</p>
<h3>Book description in Russian</h3>
<p>В книге <a href="http://manovich.net/index.php/projects/theories-of-software-cultures" target="_blank"><em>Теории софт-культуры</em></a> собраны статьи одного из ведущих медиа теоретиков мира и руководителя Cultural Analytics Lab Льва Мановича. В нее вошли ключевые работы, написанные между 1999 и 2015 годами. Автор осмысляет новые медиа в контексте истории искусств, кино, массмедиа и дизайна. Он вводит в научный оборот новые понятия «культурный софт» и «информационная эстетика». Отдельное внимание в книге уделено вопросу об использовании «больших данных» и методов точных наук для изучения содержания социальных сетей и культурных архивов.</p>
<h3>Information about ordering the book</h3>
<p>The book is available at <a href="http://www.redswallow.ru/soft-culture" target="_blank">the publisher's online store</a>. You can also purchase it in person or order online at selected bookstores in all major cities across Russia, for example:</p>
<ul>
<li><a href="http://falanster.su" target="_blank">Falanster</a>, Moscow</li>
<li><a href="http://www.podpisnie.ru/" target="_blank">Подписные издания (Podpisniye Izdaniya)</a>, Saint Petersburg</li>
<li><a href="http://wordorder.ru/catalog-ru/kulturologiya-mezhdisciplinarnye-issledovaniya/teoriya-soft-kultury/" target="_blank">Порядок слов (Poryadok Slov)</a>, Saint Petersburg</li>
<li><a href="http://smenagallery.ru/" target="_blank">Смена (Smena)</a>, Kazan</li>
<li><a href="http://vk.com/polka.knig" target="_blank">Полка (Polka)</a>, Nizhny Novgorod</li>
</ul>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-75896629964905710302017-11-28T09:44:00.003-08:002018-10-14T17:54:21.333-07:00Visual Earth: the first study to analyze the growth of image sharing on Twitter around the world
<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxd70dvW6de4nFS2yqpwF-ITo6Pytcg5AWEXSSnYexPBIUMhxmEuzCEmyPjYsqK8fA5j6K2BbckTXColhjdH7UJYj095d8j0FZay3I6oAQtBrnnCBNbxEgbshH0JrI7VBPRjNVVU7Lawsv/s1600/POSTS.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxd70dvW6de4nFS2yqpwF-ITo6Pytcg5AWEXSSnYexPBIUMhxmEuzCEmyPjYsqK8fA5j6K2BbckTXColhjdH7UJYj095d8j0FZay3I6oAQtBrnnCBNbxEgbshH0JrI7VBPRjNVVU7Lawsv/s1600/POSTS.jpg" /></a>
<p class="caption"> Map showing the locations of 100 million image tweets shared between 09/2011—06/2014 (random sample from the complete dataset of 270 million tweets). Learn more on the project website <a href="http://visual-earth.net/" target="_blank">Visual Earth</a>.</p>
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<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji8PJhvsmYV8wIZkRGp0c1hmkiTtYAfTo7xcOj4gAdq97AENBVxO2afcYb13me69_nMleb0X4vANbUUnUFYTuXsuA4W-8396FnE4sU662m36LmfpC6clY2WN6P1zwRPJBc3RVD-RLzaetU/s1600/CITIES.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji8PJhvsmYV8wIZkRGp0c1hmkiTtYAfTo7xcOj4gAdq97AENBVxO2afcYb13me69_nMleb0X4vANbUUnUFYTuXsuA4W-8396FnE4sU662m36LmfpC6clY2WN6P1zwRPJBc3RVD-RLzaetU/s1600/CITIES.jpg" /></a>
<p class="caption"> Map showing the 100 cities used in our study. The size of each circle corresponds to the total number of visual tweets shared in the central part of a given city. Learn more on the project website <a href="http://visual-earth.net/" target="_blank">Visual Earth</a>.</p>
</li>
</ul>
<div class="post-text">
<p><a href="http://visual-earth.net/" target="_blank">Visual Earth</a> is the first study to analyze the growth of image sharing on Twitter around the world in relation to economic, geographic, and demographic differences. We use a unique dataset of 270 million geocoded images shared on Twitter around the world between 09/2011—06/2014. We also look in detail at image sharing trends in 100 urban areas situated on five continents.</p>
<a name='more'></a>
<h3>Authors</h3>
<ul>
<li>Dr. Lev Manovich, Director, Cultural Analytics Lab and Professor, The Graduate Center, CUNY / project coordinator + data analysis.</li>
<li> Daniil Sergeev, founder, Firma (New York and Moscow-based branding agency) / art direction, graphic design + web design.</li>
<li>Agustín Indaco, Ph.D. candidate in Economics, The Graduate Center, CUNY / data analysis + economics. </li>
<li>Dr. Damon Crockett, post-doctoral researcher, Yale University / data preparation + data analysis + geography.</li>
<li>Dr. Mehrdad Yazdani, Research Scientist, California Institute for Telecommunication and Information (Calit2) / data preparation. </li>
</ul>
<h3>Website</h3>
<p> <a href="http://visual-earth.net/" target="_blank">http://visual-earth.net</a> </p>
<h3>Video</h3>
<p> <a href="https://vimeo.com/243595630" target="_blank">Image Sharing on Twitter 2011-2014</a> </p>
<h3>Description</h3>
<p> Rather than only considering the world’s largest cities or capitals, we selected these cities using different criteria to better represent the diversity of urban life today. We started with a list of 500 urban areas with at least 1 million people. We then chose 100 cities from this list. Each city needed to have at least 15,000 visual tweets, and no country could have more than one city. The cities in our list vary in size, history, culture, and global importance; they are situated on all five continents in countries with different levels of economic development.</p>
<p> We used a popular economic classification developed by the World Bank that divides all countries into four groups based on gross national income (GNI) per capita. Our list has 20 cities in “low-income” countries, 20 in “lower-middle income” countries, 27 in “upper-middle income” countries and 33 in “high-income” countries. These differences greatly affect image sharing rates and growth over time.</p>
<p> Among the project's findings are the large differences in image sharing growth between these 100 cities. For example, over a 30 month period, the average monthly growth rate was 33.4% in Baghdad and 20.4% in Caracas, but only 9% in London and 9.2% in Barcelona. We analyzed these differences in relation to the level of economic development of the countries where our 100 cities are located, and found a systematic relationship. The lower the level of economic development, the faster the rate of growth of image sharing.</>
<p> The project website, <a href="http://visual-earth.net/" target="_blank">http://visual-earth.net</a> discusses other findings including global image sharing growth trends, geographic differences by sub-continent, relationship between image sharing and population age, as well as major trends in the visual characteristics of the images. In addition to presenting the findings, we also propose our predictions for future growth in developing versus developed areas.</p>
<h3>Support</h3>
<ul>
<li><a href="https://blog.twitter.com/engineering/en_us/a/2014/twitter-datagrants-selections.html" target="_blank">Twitter Data Grant</a> </li>
<li><a href="http://www.gc.cuny.edu/CS" target="_blank"> Ph.D. Program in Computer Science</a>, The Graduate Center, City University of New York </li>
<li><a href="http://www.qi.ucsd.edu/about.php" target="_blank">The Qualcomm Institute, Calit2</a> (the California Institute for Telecommunications and Information Technology) </li>
</ul>
<h3>Exhibitions</h3>
<ul>
<li><a href="https://www.photoplusavl.com/events-cloud-library" target="_blank">The Cloud Library, Volume 1</a>, <em>photo+sphere</em> exhibition, Asheville, North Carolina, November 7 – 11, 2018.</li>
<li><a href="http://123data.paris/" target="_blank">1 2 3 Data</a>, Fondation Groupe EDF, Paris, May 4 - October 6, 2018.</li>
</ul>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-2926844969875556182017-11-28T09:17:00.002-08:002018-01-26T09:10:24.561-08:00Our new project Visual Earth analyzes 270 million geo-coded images shared on Twitter worldwide over 3 years<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxd70dvW6de4nFS2yqpwF-ITo6Pytcg5AWEXSSnYexPBIUMhxmEuzCEmyPjYsqK8fA5j6K2BbckTXColhjdH7UJYj095d8j0FZay3I6oAQtBrnnCBNbxEgbshH0JrI7VBPRjNVVU7Lawsv/s1600/POSTS.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxd70dvW6de4nFS2yqpwF-ITo6Pytcg5AWEXSSnYexPBIUMhxmEuzCEmyPjYsqK8fA5j6K2BbckTXColhjdH7UJYj095d8j0FZay3I6oAQtBrnnCBNbxEgbshH0JrI7VBPRjNVVU7Lawsv/s1600/POSTS.jpg" /></a>
<p class="caption">Map showing locations of 100 million image tweets shared between 09/2011—06/2014 (random sample from the complete dataset of 270 million tweets). Learn more on the project website <a href="http://visual-earth.net/" target="_blank">Visual Earth</a>.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji8PJhvsmYV8wIZkRGp0c1hmkiTtYAfTo7xcOj4gAdq97AENBVxO2afcYb13me69_nMleb0X4vANbUUnUFYTuXsuA4W-8396FnE4sU662m36LmfpC6clY2WN6P1zwRPJBc3RVD-RLzaetU/s1600/CITIES.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji8PJhvsmYV8wIZkRGp0c1hmkiTtYAfTo7xcOj4gAdq97AENBVxO2afcYb13me69_nMleb0X4vANbUUnUFYTuXsuA4W-8396FnE4sU662m36LmfpC6clY2WN6P1zwRPJBc3RVD-RLzaetU/s1600/CITIES.jpg" /></a>
<p class="caption">Map showing the 100 cities used in our study. The size of each circle corresponds to the total number of visual tweets shared in the central part of a given city. Learn more on the project website <a href="http://visual-earth.net/" target="_blank">Visual Earth</a>.</p>
</li>
</ul>
<div class="post-text">
<p><a href="http://visual-earth.net/" target="_blank">Visual Earth</a> is the first study to analyze the growth of image sharing on Twitter around the world in relation to economic, geographic, and demographic differences. We use a unique dataset of 270 million geocoded images shared on Twitter around the world between 09/2011—06/2014. We also look in detail at image sharing trends in 100 urban areas situated on five continents.</p>
<a name='more'></a>
<h3> Project Website</h3>
<p> <a href="http://visual-earth.net/" target="_blank">http://visual-earth.net</a> </p>
<h3>Project Video</h3>
<p> <a href="https://vimeo.com/243595630" target="_blank">Image Sharing on Twitter 2011-2014</a> </p>
<h3>About</h3>
<p> Rather than only considering the world’s largest cities or capitals, we selected these cities using different criteria to better represent the diversity of urban life today. We started with a list of 500 urban areas with at least 1 million people. We then chose 100 cities from this list. Each city needed to have at least 15,000 visual tweets, and no country could have more than one city. The cities in our list vary in size, history, culture, and global importance; they are situated on all five continents in countries with different levels of economic development.</p>
<p> We used a popular economic classification developed by the World Bank that divides all countries into four groups based on gross national income (GNI) per capita. Our list has 20 cities in “low-income” countries, 20 in “lower-middle income” countries, 27 in “upper-middle income” countries and 33 in “high-income” countries. These differences greatly affect image sharing rates and growth over time.</p>
<p> Visit project website <a href="http://visual-earth.net/" target="_blank">http://visual-earth.net</a> to learn more about our findings: global image sharing growth trends, geographic differences by sub-continent, relationship between image sharing and population age, as well as major trends in the visual characteristics of the images. We also propose our predictions for future growth in developing versus developed areas.</p>
<h3>Team</h3>
<p>Dr. Lev Manovich, Director, Cultural Analytics Lab and Professor, The Graduate Center, CUNY / project coordinator + data analysis. </p>
<p>Daniil Sergeev, founder, Firma (New York and Moscow-based branding agency) / art direction, graphic design + web design. </p>
<p>Agustín Indaco, Ph.D. candidate in Economics, The Graduate Center, CUNY / data analysis + economics. </p>
<p>Dr. Damon Crockett, post-doctoral researcher, Yale University / data preparation + data analysis + geography. </p>
<p>Dr. Mehrdad Yazdani, Research Scientist, California Institute for Telecommunication and Information (Calit2) / data preparation. </p>
<h3>Support</h3>
<p>
<a href="https://blog.twitter.com/engineering/en_us/a/2014/twitter-datagrants-selections.html" target="_blank">Twitter Data Grant</a> </p>
<p>
<a href="http://www.gc.cuny.edu/CS" target="_blank"> Ph.D. Program in Computer Science</a>, The Graduate Center, City University of New York</p>
<p>
<a href="http://www.qi.ucsd.edu/about.php" target="_blank">The Qualcomm Institute, Calit2</a> (the California Institute for Telecommunications and Information Technology)</p>
</p></div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-17289246950280999692017-11-08T09:01:00.002-08:002017-11-11T11:25:20.691-08:00“The Image-Interface: Graphical Supports for Visual Information” – new book by Everardo Reyes-Garcia<ul class="post-images">
<li class="image-large">
<a href=" https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiygrOgFVDSY9mPk0qH4c9QZdUbXG26JMtTqGjm1EjP64ZY1-RWsQZGOt27HXqua_6A_TPKoY8WLvUxt8KL_9c2wOV3u3culIKad-NUZFK9UHKug-dVosflbcKlx-cJeQT9Hm1qZqrJcZ1u/s1600/figure_b.jpg " imageanchor="1" ><img border="0" src=" https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiygrOgFVDSY9mPk0qH4c9QZdUbXG26JMtTqGjm1EjP64ZY1-RWsQZGOt27HXqua_6A_TPKoY8WLvUxt8KL_9c2wOV3u3culIKad-NUZFK9UHKug-dVosflbcKlx-cJeQT9Hm1qZqrJcZ1u/s1600/figure_b.jpg " /></a>
<p class="caption">Sample illustration from: Everardo Reyes-Garcia. <em>The Image-Interface: Graphical Supports for Visual Information</em> (London: Wiley-ISTE, 2017).</p>
</li>
<li class="image-small">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNyL6NlNvs3kUWwgAB_MDwYaEu9RI3ATIHLn3Nm0x9TBJeVZfLtGHiKcsh8v7VMpcsrckdHG_daIMHcBghG5mnePy5zNFy-Vdnx29-65VmnY_LBx25_4_wC-gGWzMJzQbUa-I5D6Huhxtc/s1600/cover_1.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNyL6NlNvs3kUWwgAB_MDwYaEu9RI3ATIHLn3Nm0x9TBJeVZfLtGHiKcsh8v7VMpcsrckdHG_daIMHcBghG5mnePy5zNFy-Vdnx29-65VmnY_LBx25_4_wC-gGWzMJzQbUa-I5D6Huhxtc/s1600/cover_1.jpg" /></a>
</li>
<li class="image-large">
<a href=" https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifjfhRIK9Q_HtGkz0euwyOYmu9lm3Bhi8euIT-77dEnwRGu9-CFq8wdTp8fQt_KVzB71nn9EBH0q268AaeFMZzMl1vEH-tS70nDZkSYvQJkP-6EFJxqSUHdAky9gFlbLT4lWfE0XtCo4th/s1600/figure_a.jpg" imageanchor="1" ><img border="0" src=" https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifjfhRIK9Q_HtGkz0euwyOYmu9lm3Bhi8euIT-77dEnwRGu9-CFq8wdTp8fQt_KVzB71nn9EBH0q268AaeFMZzMl1vEH-tS70nDZkSYvQJkP-6EFJxqSUHdAky9gFlbLT4lWfE0XtCo4th/s1600/figure_a.jpg" /></a>
<p class="caption">Sample illustration from: Everardo Reyes-Garcia. <em>The Image-Interface: Graphical Supports for Visual Information</em> (London: Wiley-ISTE, 2017).</p>
</li>
<li class="image-large">
<a href=" https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrFbMX9W9rX_2QVhe3VCT0uqmt_TXzzWW3n-MPpSMTCYMFUgm01gyNLrvPIhX4D9dIkhAcwTg4iREuMYvszn9t9DtrdYEcLGlii8orCukGiu7xV42wrHK6wVAS1YvzCBGuERYpF9EyjVh3/s1600/figure_c.jpg" imageanchor="1" ><img border="0" src=" https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrFbMX9W9rX_2QVhe3VCT0uqmt_TXzzWW3n-MPpSMTCYMFUgm01gyNLrvPIhX4D9dIkhAcwTg4iREuMYvszn9t9DtrdYEcLGlii8orCukGiu7xV42wrHK6wVAS1YvzCBGuERYpF9EyjVh3/s1600/figure_c.jpg" /></a>
<p class="caption">Sample illustration from: Everardo Reyes-Garcia. <em>The Image-Interface: Graphical Supports for Visual Information</em> (London: Wiley-ISTE, 2017).</p>
</li>
</ul>
<div class="post-text">
<p>New book by an associate member of the Cultural Analytics Lab, Dr. Everardo Reyes-Garcia, Associate Professor, Université Paris 8, France:</p>
<p>Everardo Reyes-Garcia. <a href="http://www.wiley.com/WileyCDA/WileyTitle/productCd-1786300621.html" target="_blank"><em>The Image-Interface: Graphical Supports for Visual Information</em></a> (London: Wiley-ISTE, November 2017). 70,000 words.</p>
<a name='more'></a>
<h3>Abstract</h3>
<p>Digital practices are shaped by graphical representations that appear on the computer screen, which is the principal surface for designing, visualizing, and interacting with digital information. Before any digital image or graphical interface is rendered on the screen there is a series of layers that affect its visual properties. To discover such processes, it is necessary to investigate software applications, graphical user interfaces, programming languages and code, algorithms, data structures, and data types in their relationship with graphical outcomes and design possibilities.</p>
<p>This book studies interfaces as images and images as interfaces. It offers a comprehensible framework to study graphical representations of visual information. It explores the relationship between visual information and its graphical supports, taking into account contributions from fields of visual computing. Graphical supports are considered as material but also as formal aspects underlying the representation of digital images on the digital screen.</p>
<h3>About the Book</h3>
<p>Learn more about Everardo Reyes-Garcia's <em>The Image-Interface: Graphical Supports for Visual Information</em> and read excerpts from the book on <a href="http://www.wiley.com/WileyCDA/WileyTitle/productCd-1786300621.html" target="_blank"> the publisher’s website</a>.</p>
</p></div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-27079494981297238952017-09-25T18:32:00.001-07:002017-09-28T09:12:06.394-07:00 Free workshops by Lev Manovich: “Thinking with Data: Learn to use R to manage, analyze, and visualize your datasets"<ul class="post-images"><li class="image-large"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTyXHcATU2XGcwM18GjCxmLwhqcfWp2iJ-iD6XsTCY8e5who4FZFndclh2pZp6I4tOPp5xOBTeJppfDfeA8WA3eY6cLV8ncThX5ef42LS6ea6Ul78-g8lowatDhrJuFBFNk7ga_Mcg3g/s1600/%2522Research+-+Royal+College+of+Art%2522+by+Karin+von+Ompteda+copy.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTyXHcATU2XGcwM18GjCxmLwhqcfWp2iJ-iD6XsTCY8e5who4FZFndclh2pZp6I4tOPp5xOBTeJppfDfeA8WA3eY6cLV8ncThX5ef42LS6ea6Ul78-g8lowatDhrJuFBFNk7ga_Mcg3g/s1600/%2522Research+-+Royal+College+of+Art%2522+by+Karin+von+Ompteda+copy.jpg" width="800" height="800" /></a> </li>
<p class="caption"> Closeup of the data visualization "Research - Royal College of Art" by Karin von Ompteda.</p>
</li>
</ul><br />
<div class="post-text">
<h3><em>Thinking with Data: Using R to manage, analyze and visualize your data</em></h3>
<p>Instructor: Dr. Lev Manovich</p>
<p>Time: 4:30 – 6:30 pm (selected Mondays) </p>
<p>Location: Science Center - Room 4102, The Graduate Center CUNY, 365 Fifth Avenue, New York City</p>
<p><h3>Description:</h3>Learn to use R to manage, analyze, and visualize your data. R is the leading language today for learning and doing data science, statistics, and machine learning used in all academic fields.</p><p>This series of workshops teaches students how to use R for organizing, analyzing and visualizing data. The workshops take place at the Graduate Center, City University of New York.</p><a name='more'></a> <p>The workshops are open to all GC students in natural sciences, social sciences and humanities. In addition to covering practical use of R, each workshop also includes a mini-lecture covering relevant theoretical ideas, historical material, examples of analyzing large data sets in social science and humanities research, and other topics.<p><h3>Schedule and topics:</h3><p>1. September 25. Introduction to R. Managing data. | <em> From world to data.</em></p><a href="https://docs.google.com/document/d/1xCJ4nDeW0K_xrX8EfSbvv9Ingge4joX09Z23mdzRqj4" >Workshop notes, R script and datasets</a><br />
<p>2. October 16. Exploring data: descriptive statistics and data visualization. | <em> The rise of statistical imagination and "big data."</em></p><p>3. October 30. Advanced visualization with R and ggplot2. | <em> Well-known visualization projects and people.</em></p><p>4. November 13. Analyzing social media data. | <em> Examples of using social media in social science and humanities.</em></p><p>5. December 4. Introduction to machine learning | <em> Use of machine learning in contemporary society and academic research.</em> <br />
</p></div>Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-28119772556706453592017-09-22T09:07:00.001-07:002017-10-09T09:50:48.490-07:00On Broadway on view in the exhibition "You Are Here NYC: Art, Information, and Mapping"<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLz0AiDDeAvKu-wfxhM4W9c_6aUW3L5mZzddmnvIsEONwU2WNEUTBXf6ajm7-9H-MiUA4ku9V62qikqQoPl2l-m513f1YuMbxJhazUpFI3Nl9pdZ1Bi5-M6Mh8HbfuCh43znSlm_vG3eD5/s1600/3_crop_edit_3.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLz0AiDDeAvKu-wfxhM4W9c_6aUW3L5mZzddmnvIsEONwU2WNEUTBXf6ajm7-9H-MiUA4ku9V62qikqQoPl2l-m513f1YuMbxJhazUpFI3Nl9pdZ1Bi5-M6Mh8HbfuCh43znSlm_vG3eD5/s1600/3_crop_edit_3.JPG" /></a>
<p class="caption">View of the exhibition. Photo: Lev Manovich.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjejNcS9VtiHlj7FTMiys4DabAedLeQHZZJsRHIL8yHxoThXbiv74nmkFbyrh6kGQOEhSQUFHumE0IzGv8MmeVZCrFcyWPQ1tW0uvQclzWsV8SBcMgeURU-Ky7QWsmHgMErLV-gwYAViLgh/s1600/IMG_3434.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjejNcS9VtiHlj7FTMiys4DabAedLeQHZZJsRHIL8yHxoThXbiv74nmkFbyrh6kGQOEhSQUFHumE0IzGv8MmeVZCrFcyWPQ1tW0uvQclzWsV8SBcMgeURU-Ky7QWsmHgMErLV-gwYAViLgh/s1600/IMG_3434.JPG" /></a>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTlfO9GiS67kM6ioPJwbZe2BgmXcx0_2Z6gCQUvefWVbZL-f_TnETOaPfXqD1zt7rnF7GESjjGPjI914YjoHThT2AlTHuauKpg53EtKnWruYkvjdPs6wY5661HaRcxlXIC8w6LPCNHhWDL/s1600/2_crop.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTlfO9GiS67kM6ioPJwbZe2BgmXcx0_2Z6gCQUvefWVbZL-f_TnETOaPfXqD1zt7rnF7GESjjGPjI914YjoHThT2AlTHuauKpg53EtKnWruYkvjdPs6wY5661HaRcxlXIC8w6LPCNHhWDL/s1600/2_crop.JPG" /></a>
<p class="caption">View of the exhibition. Photo: Lev Manovich.</p>
</li>
</li>
</ul>
<div class="post-text">
<p> Our interactive installation <a href="http://on-broadway.nyc/" target="_blank"><em>On Broadway</em></a> is included in the exhibition <em>You Are Here NYC: Art, Information, and Mapping</em> at <a href="https://www.pratt.edu/events/exhibitions/pratt-manhattan-gallery/" target="_blank">The Pratt Manhattan Gallery</a>, New York City, September 22 - November 15, 2017. </p>
<p>The exhibition of New York City maps and cartography-based artworks is curated by Katharine Harmon, author of <em>You Are Here – NYC: Mapping the Soul of the City</em>, with Jessie Braden, Director, Spatial Analysis and Visualization Initiative, Pratt Institute.</p>
<a name='more'></a>
<p>According to The Pratt Manhattan Gallery, “In recent decades, increasing numbers of artists have used mapping imagery and concepts in their work—and more recently, elements of data analysis. Simultaneously, geospatial analysts are grasping the importance of strong information visualization."</p>
<p>"The exhibition features a selection of contemporary artists, designers, and data analysts who address a question currently surfacing in the art/design zeitgeist: in what forms can information visualization become art, and how can artists make data visible? Together the works in this exhibition, all maps of the city, show a melding of information visualization and artistic endeavor. Each piece can be placed on a continuum, with art on one end and data visualization on the other, and ranging between adjectives: ambiguous/concrete, personal/public, intuitive/objective, informational/emotional. No matter where the maps fall, their creators are communicating underlying verities—whether evidence-based truths or more pliant, relative "truths"—about life in an endlessly fascinating and dynamic metropolis," claims the introduction to the exhibition.</p>
<p>Learn more about the exhibition on The Pratt Manhattan Gallery website: <a href="https://www.pratt.edu/events/exhibitions/pratt-manhattan-gallery/" target="_blank">https://www.pratt.edu/events/exhibitions/pratt-manhattan-gallery/</a>.</p>
<p> Learn more about our project <em>On Broadway</em>: <a href="http://lab.culturalanalytics.info/2016/04/on-broadway.html" target="_blank"> http://lab.culturalanalytics.info/2016/04/on-broadway.html</a>.</p>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-32005408560580167942017-05-31T07:41:00.004-07:002017-05-31T10:15:32.293-07:00Cultural Analytics 2017, a two-day symposium at the University of Notre Dame<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirQhwT0w_QFKbshv85oVttYrJgIjfSrLWERO4QGJRS7le7u8tysqgFcpVfXZTFFdcmTsxc5BqbbwsPqtUHTwWh2zMbIGQwnnjPHPO1m_KlJ0LzrQoMSPI95bUwCBxPpL3d-l_feGbhb3xd/s1600/symposium_poster_crop.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirQhwT0w_QFKbshv85oVttYrJgIjfSrLWERO4QGJRS7le7u8tysqgFcpVfXZTFFdcmTsxc5BqbbwsPqtUHTwWh2zMbIGQwnnjPHPO1m_KlJ0LzrQoMSPI95bUwCBxPpL3d-l_feGbhb3xd/s1600/symposium_poster_crop.jpg" /></a>
<p class="caption">Detail of the conference poster.</p>
</li>
</li>
</ul>
<div class="post-text">
<p>Cultural Analytics 2017 is a two-day symposium at the University of Notre Dame, devoted to new research in the fields of computational and data-intensive cultural studies.</p>
<p> Combining methods and insights from computer science and the quantitative social sciences with questions central to the interpretive humanities, the symposium Cultural Analytics 2017 explores some of the most compelling contemporary interdisciplinary work in a rigorous, collegial environment. </p>
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<p>Symposium took place at the University of Notre Dame, May 26 and 27, 2017. The event was free and open to the public and it was livestreamed online. The archived talks are available on the symposium web site.</p>
<p>Lev Manovich gave a talk “What is Cultural Analytics? Four Propositions” at the symposium on May 27.</p>
<p>Visit the symposium web site: <a href="https://sites.google.com/nd.edu/ca2017/home" target="_blank">https://sites.google.com/nd.edu/ca2017/home</a>.</p>
<p>Symposium’s schedule and abstracts of the talks are here: <a href="https://sites.google.com/nd.edu/ca2017/schedule" target="_blank">https://sites.google.com/nd.edu/ca2017/schedule</a>.</p>
<p>Information about the speakers is available here: <a href="https://sites.google.com/nd.edu/ca2017/participants" target="_blank">https://sites.google.com/nd.edu/ca2017/participants</a>.</p>
<p>Archived livestreams of all the talks are available here: <a href="https://sites.google.com/nd.edu/ca2017/livestream" target="_blank">https://sites.google.com/nd.edu/ca2017/livestream</a>.</p>
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Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-80736344686292590582017-03-09T13:46:00.003-08:002017-03-10T07:24:27.622-08:00Our lab contributed to a Google project that visualizes love trends in Australia<ul class="post-images">
<li class="image-large"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyf4vb6NG_ToxYT39the5w9KKx36trToEv0dDdIeFLR_2rL7TwbDyKHvv5B-OBdwVZuTqi7u2U23vv6RtoVdIv8CeSxbvhq_b95KyqMrWmBJw43tyGL93Dk0ydJWWBzM37QSguHl5u0o-8/s1600/top.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyf4vb6NG_ToxYT39the5w9KKx36trToEv0dDdIeFLR_2rL7TwbDyKHvv5B-OBdwVZuTqi7u2U23vv6RtoVdIv8CeSxbvhq_b95KyqMrWmBJw43tyGL93Dk0ydJWWBzM37QSguHl5u0o-8/s1600/top.jpg" /></a> <p class="caption">Screenshot of the interactive data visualization <em>Love by Numbers</em>. Explore the data visualization on the project web site <a href="http://www.equalitycampaign.org.au/lovebynumbers" target="_blank"> www.equalitycampaign.org.au/lovebynumbers</a>.</p></li>
<li class="image-large"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2fGxQI_U0CDa66hzdSLSfaF9f6fqkupJxPRJSz7XAoSNyw-UhFT_dsJpQWiaMj1hMkVddTABDBadxPmWWrYucH_Vae5Doguzb16e9cgcXQKpmxWVFwwdyQqACOOBtOiqdXFk5B6NXz2mt/s1600/top2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2fGxQI_U0CDa66hzdSLSfaF9f6fqkupJxPRJSz7XAoSNyw-UhFT_dsJpQWiaMj1hMkVddTABDBadxPmWWrYucH_Vae5Doguzb16e9cgcXQKpmxWVFwwdyQqACOOBtOiqdXFk5B6NXz2mt/s1600/top2.jpg" /></a>
<p class="caption">Screenshot of the interactive data visualization <em>Love by Numbers</em>. Explore the data visualization on the project web site <a href="http://www.equalitycampaign.org.au/lovebynumbers" target="_blank"> www.equalitycampaign.org.au/lovebynumbers</a>.</p></li>
<li class="image-large"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijZYgZBGPcAsXObK6kmmu_6I6qUsYoIp7FHT1FdPPmcul20OkekUb41FEx0IdeJEx8iObzgcTXlDpNL9d-00icLDNkO3goaRfzQKARH7aij6CH8tZtj-ezQydWrKlZTrl4EjSdSnmLI3VU/s1600/top4.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijZYgZBGPcAsXObK6kmmu_6I6qUsYoIp7FHT1FdPPmcul20OkekUb41FEx0IdeJEx8iObzgcTXlDpNL9d-00icLDNkO3goaRfzQKARH7aij6CH8tZtj-ezQydWrKlZTrl4EjSdSnmLI3VU/s1600/top4.jpg" /></a> <p class="caption">Screenshot of the interactive data visualization <em>Love by Numbers</em>. Explore the data visualization on the project web site <a href="http://www.equalitycampaign.org.au/lovebynumbers" target="_blank"> www.equalitycampaign.org.au/lovebynumbers</a>.</p></li>
</ul><div class="post-text"> <p>Cultural Analytics Lab contributed to the new Google research project that attempted to quantify the unquantifiable: love.</p>
<p>Lev Manovich and Agustin Indaco collaborated with Google team <em>Love by Numbers</em> by providing input on the questions to be included in the survey, guidance on statistical validity, and suggestions on how the data should be visualized and presented to a wide audience.</p><p>Visit the project web site: <a href="http://www.equalitycampaign.org.au/lovebynumbers" target="_blank"> www.equalitycampaign.org.au/lovebynumbers</a>.</p>
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<h3>Data</h3>
<p>The project <em>Love by Numbers</em> asked thousands of people from all over Australia to share their thoughts and experiences about love. The questions, asked via Google Surveys, ranged from “what's an acceptable public display of affection” to whom they love, how deeply they feel it, and whether they believe in marriage equality. The data for this project was collected via Google Surveys between January 14 and February 14, 2017.</p>
<h3>Findings</h3>
<p>The result of the research project is an interactive data visualization that reveals, among other findings, that 45% of Australians say they are in love right now, people in their twenties feel love five times more intensely than everyone else, and that 63% of Australians think it is fair to make same-sex marriage legal in Australia. Visit the project web site to learn more: <a href="http://www.equalitycampaign.org.au/lovebynumbers" target="_blank"> www.equalitycampaign.org.au/lovebynumbers</a>.</p>
<h3>Context</h3>
<p>After many months of backlash and political debates, the motion to legalize same sex marriage was dropped in Australia. The team at Google Australia decided to put together an interactive visualization that shows trends of how Australians feel, demonstrate, and think about love. The project <em>Love by Numbers</em> web site <a href="http://www.equalitycampaign.org.au/lovebynumbers" target="_blank"> www.equalitycampaign.org.au/lovebynumbers</a> was launched on March 4, 2017, the same day the <a href="http://www.mardigras.org.au/" target="_blank">Sydney Gay and Lesbian Mardi Gras</a> Parade took place.</p>
<h3>Press Coverage</h3>
<li><a href="
http://www.heraldsun.com.au/lifestyle/relationships/google-and-australian-marriage-equality-reveal-the-australian-cities-that-are-most-in-love-least-in-love/news-story/56ca3aa62cadac5f197c4b902b1eb805" target="_blank">Herald Sun</a></li>
<li><a href="https://www.pedestrian.tv/news/arts-and-culture/more-than-half-of-you-think-same-sex-marriage-is-r/fd8523b6-4b9e-499a-b0d4-ba7f2ee75b04.htm
" target="_blank">Pedestrian.TV</a></li>
<li><a href="https://www.popsugar.com.au/love/Google-Says-63-Percent-Australians-Want-Marriage-Equality-43257811" target="_blank">Popsugar</a></li>
<li><a href="https://mumbrella.com.au/google-maps-australias-love-in-mardi-gras-campaign-430219" target="_blank">Mumbrella</a></li>
</div>Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-73453409452895573932017-02-04T17:27:00.001-08:002017-02-04T17:27:56.086-08:00Lev Manovich to deliver a keynote lecture at “Coding Dürer,” an international hackathon for art history<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYqEU8Eop6pG-WmAmpF2ybwhv7kCosUR6uNXVALIgYyQjr9fl5AoUQnMIZ1lK96pAbxSTBYtxrYuqqPsPMEXzz-SeRXltoNtJdIBVol2W9be3I2FwEO3FIJt2kIzzM2Pb2215BRcA7UuK0/s1600/top_image_durer.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYqEU8Eop6pG-WmAmpF2ybwhv7kCosUR6uNXVALIgYyQjr9fl5AoUQnMIZ1lK96pAbxSTBYtxrYuqqPsPMEXzz-SeRXltoNtJdIBVol2W9be3I2FwEO3FIJt2kIzzM2Pb2215BRcA7UuK0/s1600/top_image_durer.jpg" /></a>
<p class="caption">Albrecht Dürer, Melencolia I. 1514. Detail.</a></p>
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</ul>
<div class="post-text">
<p>Lev Manovich is a keynote speaker at “<a href=http://codingdurer.de/ target="_blank">Coding Dürer</a>,” a five days international and interdisciplinary hackathon for art history and information science.</p>
<p> The goal of this hackathon is to bring art historians and information scientists together to work on data from <a href=http://www.europeana.eu/portal/en target="_blank">Europeana</a>, Europe’s digital platform for cultural heritage.</p>
<p>“Coding Dürer” will take place in Munich, Germany, March 13-17, 2017. The keynote lecture will be open to the public.</p>
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<h3>The Idea</h3>
<p>The idea of “<a href=http://codingdurer.de/ target="_blank">Coding Dürer</a>” is to offer art historians and information scientists a chance to collaborate in mixed groups to find challenging ideas and to initiate a fruitful dialog between both disciplines. The main focus is to enable the collaboration in interdisciplinary groups. The participants of this hackathon will spend the largest part of the time working on small, experimental projects with the aim to present a prototype at the end of the week. A few presentations by invited speakers during the week will offer inputs from other perspectives.</p>
<h3>The Data</h3>
<p>The participants of the hackathon will work with data from <a href=http://www.europeana.eu/portal/en target="_blank">Europeana</a>, Europe’s digital platform for cultural heritage. It provides online access to over 54 million digitized items from over 3,500 cultural institutions across Europe in 31 languages. The types of these items range from books, photographs, and paintings to television broadcasts and 3D objects. 20.8 million records allow free reuse. Europeana Art, the dedicated thematic collection for art and art history, allows one to browse 1.4 million objects, search by topic, artist, or color, and explore specially curated online exhibitions.</p>
<h3>More Information</h3>
<p>For more information, visit the web site of “Coding Dürer,” <a href=http://codingdurer.de/ target="_blank">http://codingdurer.de/</a>.</p>
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Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-33075531142846806272016-10-12T11:18:00.000-07:002017-11-08T08:45:52.683-08:00"What Makes Photo Cultures Different?" We compare images shared in five global cities along 1000 dimensions<ul class="post-images"><li class="image-large"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsycau4Am0VGE-9SJz1MDmovs9q6tpwATg0Yq-AO9ggprT6ZABWOrWqCIrfuteerMK_g36ld_i-ojvah9BZZFYKTnOgD75yANhokFVDT1lib2LC6aVjkljD3fBlFxSSL3tuJQ3KCy8Gp8P/s1600/25_architecture_jpg_sftwst.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsycau4Am0VGE-9SJz1MDmovs9q6tpwATg0Yq-AO9ggprT6ZABWOrWqCIrfuteerMK_g36ld_i-ojvah9BZZFYKTnOgD75yANhokFVDT1lib2LC6aVjkljD3fBlFxSSL3tuJQ3KCy8Gp8P/s1600/25_architecture_jpg_sftwst.jpg" /></a> <p class="caption">Stylistic clusters of Architecture images. Detail.</p></li>
</ul><div class="post-text"><p>Our paper compares content, photo techniques and visual styles of 100,000 Instagram images shared in a number of global cities. We use computer vision to detect 1000 types of content and 50 aesthetic features and then compare the images on these dimensions using three different methods.</p>
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<h3>Authors</h3>
<p>Lev Manovich (The Graduate Center, CUNY), Miriam Redi (Bell Labs), Damon Crockett (UCSD), and Simon Osindero (Flickr).</p>
<h3>Download Article</h3>
<a href=http://manovich.net/index.php/projects/what-makes-photo-cultures-different target="_blank"> What Makes Photo Cultures Different?</a>, ACM, October 2016.
<h3>Abstract</h3><p>Our paper compares content, photo techniques and visual styles of Instagram images shared in a number of global cities. Using deep learning, we detect 1000 types of content in the dataset of 100,000 images. We also extract 50 features that describe visual styles, photo techniques and aesthetic properties of these images. We propose and test a few different methods for comparing image samples shared in five cities these using content and visual features.</p><p>The first method uses a custom visualization technique and clustering. The second method uses supervised learning multi-class classification to quantify the differences between cities’ images. The third method compares the images along stereotypical/unique dimension.</p>
</div>Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-69493692338366134232016-07-23T10:52:00.001-07:002018-02-03T17:04:24.886-08:00Inequaligram: How do Cities Look on Instagram? <ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4cX5ON74XlTOJvyN-cgPNnzZlqZXJrgZ4FTyHrnaQiNgRHvemTMmhcdcxM1YqALg5Vtv5XRUAJoT8G0b_NsVRwbxs2Nb03Bl3RLxpHVri8OGYVupXztzGe2Y9wZcQ5pFhEtAfzG2r90U9/s1600/inequaligram_top.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4cX5ON74XlTOJvyN-cgPNnzZlqZXJrgZ4FTyHrnaQiNgRHvemTMmhcdcxM1YqALg5Vtv5XRUAJoT8G0b_NsVRwbxs2Nb03Bl3RLxpHVri8OGYVupXztzGe2Y9wZcQ5pFhEtAfzG2r90U9/s1600/inequaligram_top.jpg" /></a>
<p class="caption">To visually show the differences in image-sharing by the city’s locals and visitors, we plot the locations of 200,000 images randomly selected from our dataset. See more images on the project web site, <a href="http://inequaligram.net/" target="_blank">Inequaligram.net</a>.</p>
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</ul>
<div class="post-text">
<p>How does a city such as New York is represented in millions of Instagram posts created by locals and visitors? Which parts of a city receive most attention and which remain invisible? How can we quantify and measure these patterns? We investigate these questions using methods from economics and cultural analytics.</p>
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<h3>Authors</h3>
<p>Lev Manovich and Agustin Indaco. Web site design by Dāvis Muižnieks. 2016.</p>
<h3>Website</h3>
<p><a href="http://inequaligram.net/" target="_blank">Inequaligram.net</a></p>
<h3>Publications</h3>
<ul>
<li>Full 23,000 words version of the paper onArxiv.org. Agustin Indaco and Lev Manovich. <a href=" http://arxiv.org/abs/1607.01845" target="_blank">Urban Social Media Inequality: Definition, Measurements, and Application</a>. 2016</li>
<li>5,000 word shorter version. Agustin Indaco and Lev Manovich. <a href="http://manovich.net/index.php/projects/social-media-inequality" target="_blank">Urban Social Media Inequality: Definition, Measurements, and Application</a>. In <a href="https://usp.hse.ru/en/" target="_blank"><em>Urban Studies and Practices Journal</em></a>. 2016.</li>
</ul>
<h3>Description</h3>
<p>Every world city has large inequalities in income, wealth, education, social well-being, and access to services. Social media sharing adds new inequalities. In some parts of the city people share many images that show their experiences and places they visit. In other areas, they share much less. In this way, some parts of a city become “social media rich” while others remain “social media poor.”</p>
<p>Inequaligram project analyzes 7,442,454 public Instagram images shared in Manhattan over five months. We use measures of inequality from economics to understand differences in sharing between parts of a city.</p>
<p>The ratio between a Census tract with most images and the tract with least images is staggering: 250,00 : 1. The inequality of Instagram images by locals turns out to be bigger than inequalities in levels of income, rent, and unemployment. The inequality of visitors' images is larger than income inequality in the most unequal countries.</p>
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Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-46711245815017228732016-05-25T08:59:00.002-07:002016-05-25T09:12:23.952-07:00Culture Analytics Institute brings together 200+ computer science and humanities researchers<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpSisgv_gN0A3J8WbKqcQkVkoU7nNPVuaj8TVlG2XObxHHzEXVrPZHZ7D8dIxqlwOgj5xnkZDea9rAIFuhlgjotaGuXwJLFBpVF4CVKtvSYShKuBmeDXC3Kpl7C95IbXEVzbl9bfNcUWUY/s1600/top_image.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpSisgv_gN0A3J8WbKqcQkVkoU7nNPVuaj8TVlG2XObxHHzEXVrPZHZ7D8dIxqlwOgj5xnkZDea9rAIFuhlgjotaGuXwJLFBpVF4CVKtvSYShKuBmeDXC3Kpl7C95IbXEVzbl9bfNcUWUY/s1600/top_image.jpg" /></a>
<p class="caption">50,000 Instagram photos from Tokyo, organized by brightness mean (radius) and hue mean (perimeter). Detail. From the project <a href=http://phototrails.net target="_blank">Phototrails.</a></p>
</li>
</ul>
<div class="post-text">
<p>Culture Analytics Institute (March 7–June 10, 2016) is bringing together more than 200 computer science and humanities researchers. The use of computational and mathematical techniques to analyze cultural content, trends and patterns is a rapidly developing research area spanning a number of disciplines.</p>
<p>The goal of Culture Analytics program is to present best research and to promote collaborations. To do this, we are bringing together leading scholars in the social sciences, humanities, applied mathematics, engineering, and computer science working on qualitative culture analysis.</p>
<p>The program is organized by Institute for Pure and Applied Mathematics (IPAM), University of California - Los Angeles (UCLA).</p>
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<h3>Lead organizers</h3>
<ul>
<li><a href=http://eliassi.org/ target="_blank">Tina Eliassi-Rad</a> (Rutgers)</li>
<li><a href=http://fds.duke.edu/db/aas/math/faculty/mauro target="_blank">Mauro Maggioni</a> (Duke)</li>
<li><a href=http://manovich.net/ target="_blank">Lev Manovich</a> (The Graduate Center, CUNY)</li>
<li><a href=https://eeweb.ee.ucla.edu/Biography2.php?displayid=40 target="_blank">Vwani Roychowdhury</a> (UCLA)</li>
<li><a href=http://tango.bol.ucla.edu/ target="_blank">Tim Tangherlini</a> (UCLA)</li>
</ul>
<h3>Institute web site</h3>
<a href=http://www.ipam.ucla.edu/programs/long-programs/culture-analytics/ target="_blank"> http://www.ipam.ucla.edu/programs/long-programs/culture-analytics/</a>
<h3>Speakers</h3>
<p>115 leading academic and industry researchers are speaking at 4 Institute workshops.</p>
<p>Universities: UCLA, UCSD, UCI, UCSD, Berkeley, Stanford, USC, CMU, Chicago, Duke, Michigan, UT Austin, MIT, Yale, NYU, Brown, Rutgers, KAIST, CUNY, Cambridge, etc. </p>
<p>Companies and research labs: Google, Facebook, Twitter, AT&T, Microsoft, NYT, NYPL, New York Hall of Science, Australian Center for Moving Image, Stamen Design, etc. </p>
<h3>Full list of speakers</h3>
<strong>1. Culture analytics beyond text: image, music, video, interactivity, and performance. March 21–24, 2016. </strong>
<p> Yong-yeol Ahn (Indiana University), Sebastian Ahnert (University of Cambridge), Luis Alvarez (Universidad de Las Palmas de Gran Canaria), Jonathan Berger (Stanford University), Johan Bollen (Indiana University), Lawrence Carin (Duke University), Damiano Cerrone (SPIN Unit – Estonian Academy of Arts), Meeyoung Cha (Korea Advanced Institute of Science and Technology (KAIST)), Edwin Chen (Twitter), Ronald Coifman (Yale University), David Crandall (Indiana University), Kate Elswit, Elena Federovskaya (Rochester Institute of Technology), Marco Iacoboni (University of California, Los Angeles (UCLA)), Yannet Interian (University of San Francisco), Tristan Jehan (Massachusetts Institute of Technology), Lindsay King (Yale University), Lev Manovich (The Graduate Center, CUNY), Daniele Quercia (Yahoo), Miriam Redi (Yahoo), Babak Saleh (Rutgers University), Brian Uzzi (J. L. Kellogg Graduate School of Management). </p>
<strong>2. Culture analytics and user-experience design. April 11–15, 2016. </strong>
<p>Taylor Arnold (AT&T Labs-Research), Seb Chan (Australian Centre for the Moving Image), Dana Diminescu (Telecom ParisTech and Maison des Sciences de l'Homme), Dan Edelstein (Stanford University), Sara Fabrikant (University of Zurich), Danyel Fisher (Microsoft Research), Mariah Hamel (Plotly), Francis Harvey (Universität Leipzig), Marti Hearst (University of California, Berkeley (UC Berkeley)), Lilly Irani (University of California, San Diego (UCSD)), Anab Jain (Superflux), Isaac Knowles (Indiana University), Isabel Meirelles (OCAD University), Doug Reside (New York Public Library), Eric Rodenbeck (Stamen Design), Carrie Roy (University of Wisconsin-Madison), Dan Russell (Google), Steve Uzzo (New York Hall of Science), Ben Vershbow (New York Public Library), Amanda Visconti (Purdue University). </p>
<strong>3. Cultural patterns: multi-scale data-driven models. May 9–13, 2016. </strong>
<p>Lada Adamic (University of Michigan), Edoardo Airoldi (Harvard University), Sinan Aral (Massachusetts Institute of Technology), Maria Binz-Scharf (City University of New York (CUNY)), Joshua Blumenstock (University of Washington), Aaron Clauset (University of Colorado Boulder), Peter Dodds (University of Vermont), Tina Eliassi-Rad (Rutgers University), Aram Galstyan (USC Information Sciences Institute), Rayid Ghani (University of Chicago), Sharique Hasan (Stanford University), Eitan Hersh (Yale University), Matt Jackson (Stanford University), Jure Leskovec (Stanford University), Steve Lohr(The New York Times), Filippo Menczer (Indiana University), Mark Newman (University of Michigan), Molly Roberts (University of California, San Diego (UCSD)), Daniel Romero (University of Michigan), Don Rubin (Harvard University), Cynthia Rudin (Massachusetts Institute of Technology), Don Saari (University of California, Irvine (UCI)), Jasjeet Sekhon (University of California, Berkeley (UC Berkeley)), Cosma Shalizi (Carnegie-Mellon University), Limor Shifman (University of Southern California (USC)), Arun Sundararajan (New York University), Timothy Tangherlini (University of California, Los Angeles (UCLA)), Johan Ugander (Stanford University), Hal Varian (Google Inc.). </p>
<strong>4. Mathematical analysis of cultural expressive forms: text data. May 23–27, 2016. </strong>
<p>Yong-yeol Ahn (Indiana University), Mark Algee-Hewitt (Stanford University), Ricardo Baeza-Yates (Yahoo! Research), David Blei (Columbia University), Tanya Clement (University of Texas at Austin), Brian Croxall (Brown University), Cristian Danescu-Niculescu-Mizil (Cornell University), David Garcia (ETH Zürich), Lise Getoor (University of California, Santa Cruz (UC Santa Cruz)), Ryan Heuser (Stanford University), Natalie Houston (University of Massachusetts Lowell), Matt Jockers (University of Nebraska-Lincoln), Dan Jurafsky (Stanford University), Ralph Kenna (Coventry University), Kristina Lerman (University of Southern California (USC)), Hoyt Long (University of Chicago), Winter Mason (Facebook), David Mimno (Cornell University), Suresh Naidu (Columbia University), Chris Potts (Stanford University), Lisa Rhody (George Mason University), Vwani Roychowdhury (UCLA), Noah Smith (Carnegie-Mellon University), David Smith (Northeastern University), Neel Smith (College of the Holy Cross), Richard Jean So (University of Chicago), Markus Strohmaier (Universität Koblenz-Landau), Timothy Tangherlini (University of California, Los Angeles (UCLA)), Ted Underwood (University of Illinois at Urbana-Champaign), Hannah Wallach (University of Massachusetts Amherst). </p>
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Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-60549733512216751882016-05-24T20:08:00.000-07:002016-11-21T18:54:30.799-08:00"Instagram and Contemporary Image" - new book by Lev Manovich is released online<ul class="post-images">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6yADuzO5zl-GGfQMO1b6bKuzGVEBgqix-hlXXOafuKNucWqmAilS0eCFmdqHNi1wA54qmQ1phpE7fHZobKrsWn108moTJPmJC66ZoSczCXeTJsg9yqpuQGihzyxeFJLOMyQIAGLXfgWqx/s1600/topimage.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6yADuzO5zl-GGfQMO1b6bKuzGVEBgqix-hlXXOafuKNucWqmAilS0eCFmdqHNi1wA54qmQ1phpE7fHZobKrsWn108moTJPmJC66ZoSczCXeTJsg9yqpuQGihzyxeFJLOMyQIAGLXfgWqx/s1600/topimage.jpg" /></a>
<p class="caption"> Historical examples of "casual photos." Color prints and slides from 1956-1976. Sources: <a href= http://look-at-me.tumblr.com/ target="_blank"> http://look-at-me.tumblr.com/ </a> (submitted vintage personal photos) and <a href= https://www.flickr.com target="_blank"> https://www.flickr.com </a> (only photos with Creative License are used).</p>
</li>
<li class="image-small">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6U-7oDBwr601Qi9Z2RZwcOO9EFQVKmao7ZpEYGNHLzbac_8wlXNvGa5-WCT7p4tMh0gok8vOXR0CVFCUTEz_pPyPBN8PIiGA_GzxwY-5HIYV5SYMv1RSwHbr-RqcBP9mdG6ivDppoUmo8/s1600/professional+photos+on+instagram.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6U-7oDBwr601Qi9Z2RZwcOO9EFQVKmao7ZpEYGNHLzbac_8wlXNvGa5-WCT7p4tMh0gok8vOXR0CVFCUTEz_pPyPBN8PIiGA_GzxwY-5HIYV5SYMv1RSwHbr-RqcBP9mdG6ivDppoUmo8/s1600/professional+photos+on+instagram.png" /></a>
<p class="caption">"Professional photos" from Instagram gallery of @neivy (Connecticut, USA) during October-November 2015. 869 posts, 11.7k followers (as of 12/28/2015).</p>
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<li class="image-small">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTA_zZ5RjvlgE5sDz4_l0Nhx5KOa0kgkLY6Asxe1qWQH-sdml9PDKfenT96q9oYMAnxsf-fBl4I63daQU7Anqwv15ojNorIZ7G9I4VAMIEdfDGxYc1jBpp5jI8qp-XgUMlzpguSDF0YV3X/s1600/designed+photos+on+instagram.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTA_zZ5RjvlgE5sDz4_l0Nhx5KOa0kgkLY6Asxe1qWQH-sdml9PDKfenT96q9oYMAnxsf-fBl4I63daQU7Anqwv15ojNorIZ7G9I4VAMIEdfDGxYc1jBpp5jI8qp-XgUMlzpguSDF0YV3X/s1600/designed+photos+on+instagram.png" /></a>
<p class="caption">"Designed photos" from Instagram gallery @recklesstonight (Kiev, Ukraine) during October-December 2015. 123 posts, 52.1k followers (as of 12/28/2015).</p>
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</ul>
<div class="post-text">
<p>Lev Manovich, <em>Instagram and Contemporary Image </em>. 25,000 words. Written December, 2015 – November, 2016.<p>
<p>The book is released chapter by chapter on <a href=http://manovich.net/index.php/projects/tag:Article target="_blank"> manovich.net</a> during 2016.</p>
<p>Text: Attribution-NonCommercial-NoDerivatives 4.0 International Creative Commons license. Images copyright belongs to their respective authors.</p>
<a name='more'></a>
<h3>Book chapters</h3>
<p>(When new parts are released, the links will be added here)</p>
<p>1. <a href=http://manovich.net/index.php/projects/subjects-and-styles-in-instagram-photography-part-1 target="_blank"><em>Subjects and Styles in Instagram Photography</em> (Part 1).</a></p>
<p>2. <a href=http://manovich.net/index.php/projects/subjects-and-styles-in-instagram-photography-part-2 target="_blank"><em>Subjects and Styles in Instagram Photography</em> (Part 2). </a></p>
<h3>Abstract</h3>
<p>What are some of the types of Instagram photos today and how they relate to the 20th century photo culture? I analyze three common types of Instagram photos. We call these types "casual," "professional," and "designed."</p>
<p>"Casual" photos are similar in function to personal photographers of the 20th century: they are created for friends; they privilege content of photos and ignore the aesthetics.</p>
<p>Both “professional” and “designed” photo type are examples of what Alise Tifentale calls <a href=http://www.alisetifentale.net/research-blog-at/2016/1/17/work-in-progress-defining-competitive-photography target="_blank">competitive photography </a>. The difference is whom the authors compete with for likes and followers. The authors of professional photos aim for “good photo” aesthetics established in the second part of the 20th century, so they compete with other authors and lovers of such “classic” aesthetics including many commercial photographers.</p>
<p>The authors of “designed” photos associate themselves with more “contemporary,” hip,” “cool” and “urban” lifestyle choices and corresponding aesthetics, so this is their peer group on Instagram.</p>
<p>The first part of <em>Subjects and Styles in Instagram Photography</em> chapter discusses the casual photo type. The second part discusses professional and designed photo types.</p>
<p>My text is an experiment to see how we can combine traditional “qualitative” approach of media theory and art history and newer quantitative analysis that uses “big cultural data” and computational methods. I draw on the analysis of 15 million images shared on Instagram in 16 global cities during 2012-2015 carried out in our lab (<a href=http://softwarestudies.com target="_blank">softwarestudies.com</a>); results from other labs; my own informal observations from using Instagram for 3 years; and histories of photography, art and design.</p>
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Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-89554953134885377392016-05-02T18:15:00.002-07:002016-07-06T09:04:59.014-07:00The Science of Culture? Social Computing, Digital Humanities, and Cultural Analytics<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3qTikwKh-mqsTkhTkxteLp49dwbtBk5-urgHTpfo-fYlFKCvHpHtbSXDgV24xKwo5CcRbgE6Lk_B0NDZdzLj534adLrLQuMXdacCDpFSBxSE8KPAdFcyY9GaHEsbYP1M1330YLwZTSJim/s1600/Kyiv+visualization.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3qTikwKh-mqsTkhTkxteLp49dwbtBk5-urgHTpfo-fYlFKCvHpHtbSXDgV24xKwo5CcRbgE6Lk_B0NDZdzLj534adLrLQuMXdacCDpFSBxSE8KPAdFcyY9GaHEsbYP1M1330YLwZTSJim/s1600/Kyiv+visualization.png"/></a>
<p class="caption">This visualization shows all images that have one or more “Maidan” tags, and every image is repeated for each of its tags. For example, if an image has #euromaidan and #майдан tags, its repeated twice. As a result, 1,340 images turn into 2,917. (The images are organized by date and time (left to right, top to bottom). From research project <a href=" http://www.the-everyday.net/"> The Exceptional and the Everyday: 144 Hours in Kyiv</a> (2014), an analysis of Instagram images shared in Kyiv during the 2014 Ukrainian Revolution.</p>
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<li class="image-small">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlRkcJcUJ6e9Neb13mJU0jmtsEN4d0J-XsXLoa1444QEBYEFroGKPOi6qaMpzCYbBZxMoUeow0zNxXHOT5h1ruSR1ae7Sl0xLDQZKLO5mvdlh5SL3vIEjClxCw0T3N95POL1EfOv_n1EV/s1600/KYIV+Fig+4bmapFeb-18-22.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlRkcJcUJ6e9Neb13mJU0jmtsEN4d0J-XsXLoa1444QEBYEFroGKPOi6qaMpzCYbBZxMoUeow0zNxXHOT5h1ruSR1ae7Sl0xLDQZKLO5mvdlh5SL3vIEjClxCw0T3N95POL1EfOv_n1EV/s1600/KYIV+Fig+4bmapFeb-18-22.png" /></a>
<p class="caption">Map of Kyiv that shows locations of images shared during February 18-22, 2014. From research project <a href=" http://www.the-everyday.net/">The Exceptional and the Everyday: 144 Hours in Kyiv</a>.</p>
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<li class="image-small">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg-KDc_TUrYUpwXDIiXuD7_vwgU_JB4_LzE4TWPyXFkcD_VfkRFj91h1pIiyTkDqgDBZkJ9Q8aVy19kToCwkkFcO4Q-SG1jtwwmSITN7t-T8IDbOFE3HrbZdJBmoJ3BAj3fzW_WEOYVNIk/s1600/data-spines.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg-KDc_TUrYUpwXDIiXuD7_vwgU_JB4_LzE4TWPyXFkcD_VfkRFj91h1pIiyTkDqgDBZkJ9Q8aVy19kToCwkkFcO4Q-SG1jtwwmSITN7t-T8IDbOFE3HrbZdJBmoJ3BAj3fzW_WEOYVNIk/s1600/data-spines.jpg" /></a>
<p class="caption"> Detail of research visualizations for the installation <a href="http://on-broadway.nyc/"> On Broadway</a> (2014), an interactive installation exploring the Broadway in NYC using 40 million user-generated images and data points.</p>
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<li class="image-small">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmkkyeUA05Q10MwNS0BjHpGLa1vagX8p5dyFi7pMuShFCeMS0hY74wlaEmFbziOtCL2gqaec75OOxGygfSf-9znrrJ-QpKAxZ0hLc5ikAroqYotZr05c9wu6ESNegUOrrjkTmOvB02Qm-6/s1600/times-square.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmkkyeUA05Q10MwNS0BjHpGLa1vagX8p5dyFi7pMuShFCeMS0hY74wlaEmFbziOtCL2gqaec75OOxGygfSf-9znrrJ-QpKAxZ0hLc5ikAroqYotZr05c9wu6ESNegUOrrjkTmOvB02Qm-6/s1600/times-square.png" /></a>
<p class="caption">Screenshot of the installation <a href="http://on-broadway.nyc/"> On Broadway</a>.</p>
</li>
</ul>
<div class="post-text">
<h3>Author</h3>
<p>Lev Manovich</p>
<h3>Download Article</h3>
<p><a href=" http://manovich.net/content/04-projects/086-cultural-analytics-social-computing/cultural_analytics_article_final.pdf"> The Science of Culture? Social Computing, Digital Humanities and Cultural Analytics</a> (2015).</p>
<h3>Abstract</h3>
<p>I define Cultural Analytics as “the analysis of massive cultural data sets and flows using computational and visualization techniques,” I developed this concept in 2005, and in 2007 we established a research lab Software Studies Initiative to start working on practical projects. The following are the examples of theoretical and practical questions that are driving our work. </p>
<a name='more'></a>
<p>What does it mean to represent “culture” by “data”? What are the unique possibilities offered by computational analysis of large cultural data in contrast to qualitative methods used in humanities and social science? How to use quantitative techniques to study the key cultural form of our era – interactive media? How can we combine computational analysis and visualization of large cultural data with qualitative methods, including "close reading”? (In other words, how to combine analysis of larger patterns with the analysis of individual artifacts and their details?) How can computational analysis do justice to variability and diversity of cultural artifacts and processes, rather than focusing on the "typical" and "most popular"? </p>
<p>In 2015, eight years later, the work of our lab has become only a tiny portion of the very large body of research. Thousands of researchers have already published tens of thousands of papers analyzing patterns in massive cultural datasets. First of all, this is data describing the activity on most popular social networks (Flickr, Instagram, YouTube, Twitter, etc.), user created content shared on these networks (tweets, images, video, etc.), and also users’ interactions with this content (likes, favorites, re-shares, comments). Second, researchers also have started to analyze particular professional cultural areas and historical periods, such as website design, fashion photography, 20th–century popular music, 19th–century literature, etc. This work is carried out in two newly developed fields – Social Computing and Digital Humanities. </p>
<p>Where does this leave Cultural Analytics? I think that it continues to be relevant as the intellectual program. As we will see, Digital Humanities and Social Computing carve their own domains in relation to the types of cultural data they study, but Cultural Analytics does not have these limitations. We are also not interested in choosing between humanistic vs. scientific goals and methodology, or subordinating one to another. Instead, we are interested combining both in the studies of cultures - focus on the particular, interpretation, and the past from the humanities and the focus on the general, formal models, and predicting the future from the sciences. </p>
<p>In this article I discuss these and other characteristics of both approaches to the study of large cultural datasets as they developed until now, pointing out opportunities and ideas that have not yet been explored. </p>
</div>Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-78328069874135390502016-04-16T21:01:00.003-07:002016-07-06T08:59:04.983-07:00A View from Above: Exploratory Visualizations of MoMA Photography Collection
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdunRE1ex0daGS60Vye1RHnZts7GhNfSELMD82Wzg_O5gRXCVLEspugVuugdMzeksabDzFAT068FNwmNhRRSYleUMeUx15yfHPDjiX_NmV60HfXZ4rNxqVTrQ0v6ZbToOht3zWW_ye_3xa/s1600/Figure1.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdunRE1ex0daGS60Vye1RHnZts7GhNfSELMD82Wzg_O5gRXCVLEspugVuugdMzeksabDzFAT068FNwmNhRRSYleUMeUx15yfHPDjiX_NmV60HfXZ4rNxqVTrQ0v6ZbToOht3zWW_ye_3xa/s1600/Figure1.png" /></a>
<p class="caption">Radial visualization of 18,941 photographs in the MoMA photography collection. Dates: 1837 - 2012. The distance of a image h from the center is determined by its year of creation; the newer the photograph, the farther it is from the center. The degree of a photograph’s placement in the circle is determined by its average brightness (it increases counterclockwise from 90 degrees).</p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMc8kq61utIMbmHeDbwg2Yx0UKSQSH55scgUpfDHu4bLoMIw7p7MGQSfTouMcJu-2YIbi2qTs3iuNiwXyQkok6HWM1PKuxfwOAaqgAegwU-IbghkGyPH19wjMl8Eqpdfn4_TXxEZMHheH0/s1600/figure2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMc8kq61utIMbmHeDbwg2Yx0UKSQSH55scgUpfDHu4bLoMIw7p7MGQSfTouMcJu-2YIbi2qTs3iuNiwXyQkok6HWM1PKuxfwOAaqgAegwU-IbghkGyPH19wjMl8Eqpdfn4_TXxEZMHheH0/s1600/figure2.jpg" /></a>
<p class="caption">Visualization of 18,941 photographs in the MoMA photography collection. Dates: 1837 - 2012. Images are sorted by year of creation (vertical axis, ascending from top to bottom).</p>
</li>
</li>
</ul>
<div class="post-text">
<h3>Publication</h3>
<p> Nadav Hochman and Lev Manovich. "<a href="http://www.moma.org/interactives/objectphoto/assets/essays/Manovich_Hochman.pdf" target="_blank">A View from Above: Exploratory Visualizations of the Thomas Walther Collection</a>," in Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds. <a href="https://www.moma.org/interactives/objectphoto/#home" target="_blank">Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949</a>. New York: The Museum of Modern Art, 2014.</p>
<h3>Authors</h3>
<p>Nadav Hochman and Lev Manovich, 2013.</p>
<h3>Description</h3>
<p> The use of quantitative analysis and visualization for the study of cultural visual data allows us to view cultural artifacts in new ways, to confirm and describe more precisely the existing understanding of historical developments, and, potentially, to reveal previously unnoticed patterns. This essay presents visualizations of photographs in the Thomas Walther Collection at The Museum of Modern Art, New York, in relation to the greater MoMA photography collection. To the best of our knowledge, this is the first time that historical patterns in a large photography collection have been analyzed and visualized using quantitative computer techniques. </p>
<a name='more'></a>
<p> Our method has two main steps. First, we use custom image processing software to automatically measure the characteristics of the digitized photographs, such as tonality, contrast, color palette, texture, line orientation, and the presence and position of faces. In the second step, we use our visualization tools to create high-resolution images showing all the pictures in a collection sorted by their visual properties and/or their metadata (date, dimensions, artist, place of origin, etc.).</p>
<p> Visualizations presented in this essay use two characteristics: average tonality and average saturation. We also explore historical patterns in representations of faces, bodies, and body parts, and compare the prevalence of photographs taken outdoors and indoors. Available metadata for each photograph included the artist’s name, nationality at time of death, and place of birth, when different than nationality; the date (or date range) when the photograph’s negative was made; and the photographic process used to make the print. The visualizations allow us to explore patterns in the photographs’ metadata and in their visual form and content. We have created many views of the collection, organizing the images in different ways: by selected visual characteristics, for example, or by creation date. </p>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-84897942230218207172016-04-16T20:16:00.002-07:002017-11-14T08:56:44.171-08:00Media Species: Creating a Taxonomy of Different Types of Media Content
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6xW9l-dvxXCeGXM7TrnpC-trAa8lCx-oTD6G9o_nQ777EzmdvpuHnYLCCrcbH09ybl8SSCpYObtr7uAa4v0USdGJhrdJhTRyOKp5idtA7ci04HzcMzCQRg6zhmovSQNX7xoh8QGpigyfa/s1600/01image.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6xW9l-dvxXCeGXM7TrnpC-trAa8lCx-oTD6G9o_nQ777EzmdvpuHnYLCCrcbH09ybl8SSCpYObtr7uAa4v0USdGJhrdJhTRyOKp5idtA7ci04HzcMzCQRg6zhmovSQNX7xoh8QGpigyfa/s1600/01image.jpg" /></a>
<p class="caption">Media Species poster. Detail. <a href="https://www.flickr.com/photos/culturevis/4119105812/in/album-72157622088848303/">See full size image on Flickr.</a></p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTaqlLFBXomiwBG8jNW2hpYbCYwV8oBdbEbHjHSa_p1ovhwHmrADo26vlCU24C3SxbGW2blLi0XkYBFrICshBw9ohgjEBKRVIWjOv-i91UWiyCr3ehetzff7ob2OTBfDnmdZLjVG3x-hY_/s1600/A.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTaqlLFBXomiwBG8jNW2hpYbCYwV8oBdbEbHjHSa_p1ovhwHmrADo26vlCU24C3SxbGW2blLi0XkYBFrICshBw9ohgjEBKRVIWjOv-i91UWiyCr3ehetzff7ob2OTBfDnmdZLjVG3x-hY_/s1600/A.jpg" /></a>
<p class="caption">Media Species poster. Detail. <a href="https://www.flickr.com/photos/culturevis/4119105812/in/album-72157622088848303/">See full size image on Flickr.</a></p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_3_7wHpNhIJ78kwOJgYF0_8elI20Ym_B3X0nMlBlbssVytxMA6cEMHlVMSL1km6A3Qm5zA_BHS2LHhZ_1jDwK9F8qHGZSmbnsJKG_rRWo1mnGP2fZe98zlOjtFlCeabPCw0Za2p0V6qIZ/s1600/C.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_3_7wHpNhIJ78kwOJgYF0_8elI20Ym_B3X0nMlBlbssVytxMA6cEMHlVMSL1km6A3Qm5zA_BHS2LHhZ_1jDwK9F8qHGZSmbnsJKG_rRWo1mnGP2fZe98zlOjtFlCeabPCw0Za2p0V6qIZ/s1600/C.jpg" /></a>
<p class="caption">Media Species poster. Detail. <a href="https://www.flickr.com/photos/culturevis/4119105812/in/album-72157622088848303/">See full size image on Flickr.</a></p>
</li>
</ul>
<div class="post-text">
<h3>Full Size Image</h3>
<p>View a <a href="https://www.flickr.com/photos/culturevis/4119105812/in/album-72157622088848303/">full size image of the poster</a> on Flickr.</p>
<h3>Authors</h3>
<p>Lev Manovich, Sergie Magdalin, Tara Zepel, Kedar Reddy, 2009</p>
<h3>Description</h3>
<p> Media Species is a poster for SIGGRAPH Info-Aesthetics exhibition in 2009.</p>
<p> The project is comparing different types of media (1930's cartoons, song sequences from Bollywood films, contemporary motion graphics and U.S. TV political ads from 2008) using a variety of visualization techniques.</p>
<a name='more'></a>
<p> In this poster, we present our research in progress, which focuses on different “species” of moving images. The species chosen for the poster come from four particular classes: Betty Boop cartoons produced by Fleischer Studios (the 1930s), dance and song scenes from four Bollywood films from the 1980s – 2000s (two songs per film), motion graphics (2007-2009) from behance.net (an online network for creative professionals) and political TV ads for the 2008 US Republican and Democrat candidates. Given the size limitations of the poster, we have selected 8 samples from each class. Four types of visualizations have been applied to these media “species”: </p>
<ul>
<li>Matrix of frames sampled at regular intervals. </li>
<li> Temporal slice through a clip. Each vertical line in a slice corresponds to a vertical line taken from the middle of a frame of the video. </li>
<li> Frame averages. Clips were sampled at regular intervals and the resulting frames were averaged.</li>
<li> Line graphs. X = frame number. Y = frame difference. To create Y values, we subtracted each frame from the frame which follows it. </li>
</ul>
<p> All videos were digitized at the same rate of 12 fps to enable comparison of patterns across classes and species. </p>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-41011869299927331622016-04-16T19:39:00.001-07:002018-01-26T08:53:51.612-08:00Timeline: 4535 Time Magazine Covers, 1923-2009<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHO6Bdq2jGp-wytKfuy740yz1AZUquPLCLNCycTITkZPhQMA6vb17VFqx_AcISDLE58V59VwvO1lNQTdCipo6CkOnvLJ1eOjLFTVq53sXzL1F7RGgolaugtik51aLDW58Vvsndq-ZNS-TM/s1600/Time.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHO6Bdq2jGp-wytKfuy740yz1AZUquPLCLNCycTITkZPhQMA6vb17VFqx_AcISDLE58V59VwvO1lNQTdCipo6CkOnvLJ1eOjLFTVq53sXzL1F7RGgolaugtik51aLDW58Vvsndq-ZNS-TM/s1600/Time.jpg" /></a>
<p class="caption"> Visualization 1. Covers of every issue of Time magazine published from the first issue in 1923 to summer 2009. <a href="https://www.flickr.com/photos/culturevis/4038907270/in/set-72157624959121129">Click here</a> to view the image on Flickr.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1WOD5tEY160W7aJwS2x1Qd-1Qb3T9UrT339_VxxL1A7s4heJAbPzNd9pORutcoI5bdBNKOrt5uWGcXjzBDmOD2aIb5-BNWirQHYhU2m92zuu6drgs-yk_QXI1eY_Ri0Y3OxJSBqsGy8Le/s1600/Large.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1WOD5tEY160W7aJwS2x1Qd-1Qb3T9UrT339_VxxL1A7s4heJAbPzNd9pORutcoI5bdBNKOrt5uWGcXjzBDmOD2aIb5-BNWirQHYhU2m92zuu6drgs-yk_QXI1eY_Ri0Y3OxJSBqsGy8Le/s1600/Large.jpg" /></a>
<p class="caption"> Visualization 2. 4535 Time magazine covers are plotted left to right. X axis: Publication date, 1923-2009. Y axis: automatically measured brightness for black and white covers, or saturation for color covers (mean value of all pixels). <a href="https://www.flickr.com/photos/culturevis/3951496507/in/set-72157624959121129">Click here</a> to view the image on Flickr.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1xyj5EPqwVh-LIzpsN18gvNv8L4Y88krTBNkWMJJ75rz-JfC3DKrUwtnY-Tv0S4lr2zvHcW4VgS7-AaDPBKKT6p0XUpQXmctjH1MX2AZFVoTA7cc1mdrAR7GyYZWGq_9EcI8g91kY0eRa/s1600/01ajpg.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1xyj5EPqwVh-LIzpsN18gvNv8L4Y88krTBNkWMJJ75rz-JfC3DKrUwtnY-Tv0S4lr2zvHcW4VgS7-AaDPBKKT6p0XUpQXmctjH1MX2AZFVoTA7cc1mdrAR7GyYZWGq_9EcI8g91kY0eRa/s1600/01ajpg.jpg" /></a>
<p class="caption">Close-up detail of Visualization 1. <a href="https://www.flickr.com/photos/culturevis/4038907270/in/set-72157624959121129">Click here</a> to view the full size image on Flickr.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixMMp_IX2C4e8BBdoV7pdCP-G9hDzupLibaZs84vnzBTLfO4lNxjp7mzBlEngcu-xOCDR-ImJAYqajcdrcuS6RPN_Nbmfd7WBJ5x-hbLduUmbnNz7NUkXZYksf8kBKtT5IeyTvmIAVTFgT/s1600/02jpg.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixMMp_IX2C4e8BBdoV7pdCP-G9hDzupLibaZs84vnzBTLfO4lNxjp7mzBlEngcu-xOCDR-ImJAYqajcdrcuS6RPN_Nbmfd7WBJ5x-hbLduUmbnNz7NUkXZYksf8kBKtT5IeyTvmIAVTFgT/s1600/02jpg.jpg" /></a>
<p class="caption"> Close-up detail of Visualization 2. <a href="https://www.flickr.com/photos/culturevis/3951496507/in/set-72157624959121129">Click here</a> to view the full size image on Flickr.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbWhEEHVAe9H_mssGvph3FZHcu7sZUevmHVDaGqTfcuMseqJEPRCOOwe3lfYc2zxwJoO5iyq_t_gtftsvMdsykdXWiqvcINpjtDa6qwvwAab0wQc0NHWmPmAokhFVPw2fq7CiV3K3OloW/s1600/02ajpg.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbWhEEHVAe9H_mssGvph3FZHcu7sZUevmHVDaGqTfcuMseqJEPRCOOwe3lfYc2zxwJoO5iyq_t_gtftsvMdsykdXWiqvcINpjtDa6qwvwAab0wQc0NHWmPmAokhFVPw2fq7CiV3K3OloW/s1600/02ajpg.jpg" /></a>
<p class="caption"> Close-up detail of Visualization 2. <a href="https://www.flickr.com/photos/culturevis/3951496507/in/set-72157624959121129 ">Click here</a> to view the full size image on Flickr.</p>
</li>
</ul>
<div class="post-text">
<h3>Authors</h3>
<p> Lev Manovich and Jeremy Douglass</p>
<h3>Full Resolution Visualizations</h3>
<ul>
<li><a href="https://www.flickr.com/photos/culturevis/albums/72157622525012841">Time magazine covers visualizations</a>, a collection of full resolution images on Flickr.</li>
<li> <a href=" https://www.flickr.com/photos/culturevis/sets/72157623414034532">Time magazine covers metadata visualizations</a> on Flickr. </li>
</ul>
<h3>Description</h3>
<p>This project presents a visualization analysis of the Time magazine covers (1923-2009).</p>
<a name='more'></a>
<h3>Visualization 1</h3>
<p> Data: Covers of every issue of Time magazine published from the first issue in 1923 to summer 2009. </p>
<p> Total number of covers: 4535. Distinctive red borders have framed Time magazine cover designs since 1927. In order to highlight changes within these borders, we cropped all images to eliminate their margins (red or otherwise). </p>
<p> Timescale: 1923-2009. </p>
<p> Mapping: Time covers appear in order of publication (i.e., from 1923 to 2009), arranged in a grid layout (left to right and top to bottom). Mapping 4535 Time covers into a grid organized by publication date reveals a number of historical patterns. Here are some of them: </p>
<ul>
<li>Medium: In the 1920s and 1930s Time covers use mostly photography. After 1941, the magazine switches to paintings. In the later decades the photography gradually comes to dominate again. In the 1990s we see emergence of the contemporary software-based visual language which combines manipulated photography, graphic and typographic elements. </li>
<li> Color vs. black and white: The shift from early black and white to full color covers happens gradually, with both types coexisting for many years. </li>
<li> Hue: Distinct “color periods” appear in bands: green, yellow/brown, red/blue, yellow/brown again, yellow, and a lighter yellow/blue in the 2000s. </li>
<li> Brightness: The changes in brightness (the mean of all pixels’ grayscale values for each cover) follow a similar cyclical pattern. </li>
<li> Contrast and Saturation: Both gradually increase throughout the 20th century. However, since the end of the 1990s, this trend is reversed: recent covers have less contrast and less saturation. </li>
<li> Content: Initially most covers are portraits of individuals set against neutral backgrounds. Over time, portrait backgrounds change to feature compositions representing concepts. Later, these two different strategies come to co-exist: portraits return to neutral backgrounds, while concepts are now represented by compositions which may include both objects and people – but not particular individuals. </li>
<li> The visualization also reveals an important “meta-pattern”: almost all changes are gradual. Each of the new communication strategies emerges slowly over a number of months, years or even decades. </li>
</ul>
<h3>Visualization 2</h3>
<p> Mapping: 4535 Time magazine covers spanning 86 years are plotted left to right. </p>
<p> X axis: Publication date, 1923-2009. </p>
<p> Y axis: automatically measured brightness for black and white covers, or saturation for color covers (mean value of all pixels). </p>
<p> Visualization of 4535 Time covers reveals a number a number of temporal patterns: The image makes visible the pre-color printing era on the far left, a cluster of brief early experiments in color printing (with left-margin coloration), and then the gradual shift from black and white to full color covers, with both types coexisting for a number of years. </p>
<p> Taking a step back, we can see that brightness and saturation follow a cyclical pattern of rising and falling, with dramatic peaks and valleys only becoming apparent over periods of a decade or more. Standing apart from the overall curve are extreme exceptions: glowing bright images and pale designs that float above or below the cloud of covers typical of an era. </p>
<p> Taking another step back, we can compare our present decade to the entire 86 magazine history. The drop in saturation since the end of the 1990s represents an unexpected development - since for the previous 50 years average saturation level first gradually went up and then stayed the same (since middle of the 1960s). </p>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-29885677519488282572016-04-16T18:24:00.003-07:002016-07-12T09:38:34.925-07:00Mondrian vs Rothko: Revealing the Comparative "Footprints" of the Modern Painters<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbNthmixNGv1sWFGezVaf8UVlBY_jM-Z0-JQ22V8lcA5NrDUN2dwHwIsEppc9kfwy-5uTwaPg1OjyW3x3CtXkJAb-Gn6kPk0vJ-tuy-ITEV7dsBKaDfgpwf4jJBISqN-9Y-K29Fx_s4GnN/s1600/5883371358_936cb60753_o.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbNthmixNGv1sWFGezVaf8UVlBY_jM-Z0-JQ22V8lcA5NrDUN2dwHwIsEppc9kfwy-5uTwaPg1OjyW3x3CtXkJAb-Gn6kPk0vJ-tuy-ITEV7dsBKaDfgpwf4jJBISqN-9Y-K29Fx_s4GnN/s1600/5883371358_936cb60753_o.jpg" /></a>
<p class="caption">Data: 128 paintings by Piet Mondrian (1905 - 1917) and 151 paintings by Mark Rothko (1944 - 1957). Mapping: X-axis: brightness mean, Y-axis: saturation mean. This visualization demonstrates how image plots can be used to compare multiple data sets. In this case, the goal is to compare similar number of paintings by Piet Mondrian and Mark Rothko (produced over comparable time periods of 13 years) along particular visual dimensions. <a href="https://www.flickr.com/photos/culturevis/5883371358/sizes/l"> See the full size image on Flickr.</a></p>
</li>
</ul>
<div class="post-text">
<h3>Author</h3>
<p>Lev Manovich</p>
<h3>Other Visualizations</h3>
<ul>
<li>The project includes <a href="http://lab.softwarestudies.com/2011/06/mondrian-vs-rothko-footprints-and.html">other visualizations and their analysis</a>.</li>
<li>Additional visualizations of Rothko and Mondrian from this project <a href="https://www.flickr.com/photos/culturevis/albums/72157620892205860">on Flickr</a>.</li>
</ul>
<h3>Description</h3>
<p>The visualization (2010) shows 128 paintings by Piet Mondrian (1905-1917) and 123 paintings by Mark Rothko (1938-1953). We have measured selected characteristics (features) of each paintings using image analysis software. In each plot, paintings are organized by average brightness (x-axis) and average saturation (y-axis).</p>
<a name='more'></a>
<p>Projecting sets of paintings of these two artists into the same coordinate space reveals their comparative "footprints" - the parts of the space of visual possibilities they explored. We can see the relative distributions of their works - the denser and the more sparse areas, the presence or absence of clusters, the outliers, etc.</p>
<p>The visualizations also show how Mark Rothko - the abstract artist of the generation which followed Mondrian - was exploring the parts of brightness/hue space which Mondrian did not reach (highly saturated and bright paintings in the upper right corner, and desaturated dark paintings in the left part).</p>
<p>All visualizations are created with free <a href="http://lab.softwarestudies.com/p/imageplot.html">ImagePlot</a> software developed by Software Studies Initiative.</p>
<h3>Contributor</h3>
<p>Images preparation: Xiaoda Wang</p>
<h3>Related Projects</h3>
<p>We have also analyzed and visualized patterns in careers of individual
arts and art movements:</p>
<ul>
<li><a href="https://www.flickr.com/photos/culturevis/albums/72157629776801019">French Impressionists,</a></li>
<li><a href="https://www.flickr.com/photos/culturevis/albums/72157627479624310">Vincent van Gogh and Paul Gauguin,</a></li>
<li><a href="http://lab.softwarestudies.com/2008/07/arthistoryviz-mining-200000-images-of.html">Development of modern art.</a></li>
</ul>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-79368756403123324812016-04-15T20:55:00.001-07:002018-05-04T10:30:08.543-07:00On Broadway: Representing Life in the 21st Century City through Social Media Images and Data
<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7KNF2tvCAvnrlo_SCa7PsoYakmJ9ta5GsqQMyD444JzjOVI3-PyrePBMBx7A4L7xuQSE9jfPZFk3YIY8hkcvyeAy9dW4QY-6UCWTCJb1z2rZE7-QoTkDHhRIQ3ekZ0Ze8w5RUpSCUfnWD/s1600/inwood_jpg_edit.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7KNF2tvCAvnrlo_SCa7PsoYakmJ9ta5GsqQMyD444JzjOVI3-PyrePBMBx7A4L7xuQSE9jfPZFk3YIY8hkcvyeAy9dW4QY-6UCWTCJb1z2rZE7-QoTkDHhRIQ3ekZ0Ze8w5RUpSCUfnWD/s1600/inwood_jpg_edit.jpg" /></a>
<p class="caption">Screenshot of the interactive installation <a href="http://on-broadway.nyc/">On Broadway</a>.
</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLz0AiDDeAvKu-wfxhM4W9c_6aUW3L5mZzddmnvIsEONwU2WNEUTBXf6ajm7-9H-MiUA4ku9V62qikqQoPl2l-m513f1YuMbxJhazUpFI3Nl9pdZ1Bi5-M6Mh8HbfuCh43znSlm_vG3eD5/s1600/3_crop_edit_3.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLz0AiDDeAvKu-wfxhM4W9c_6aUW3L5mZzddmnvIsEONwU2WNEUTBXf6ajm7-9H-MiUA4ku9V62qikqQoPl2l-m513f1YuMbxJhazUpFI3Nl9pdZ1Bi5-M6Mh8HbfuCh43znSlm_vG3eD5/s1600/3_crop_edit_3.JPG" /></a>
<p class="caption">Interactive installation On Broadway in the exhibition <a href="https://www.pratt.edu/events/exhibitions/pratt-manhattan-gallery/">You Are Here NYC: Art, Information, and Mapping</a>, The Pratt Manhattan Gallery, New York City, September 22 – November 15, 2017. Photo: Lev Manovich.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4gAHWmJsIIdrtJ3kW5TwgLXxo4XZx5IzhdzHeHQb2iDFnfP_W8wOHL21DK71mBvKbcTIiTDOqJJ5vo6AJV3HA_O60xhUbUCv4ky6zZIJjJi0WoyNjUKyQSQeaDXxCU4z_Ga-t-pEoD18/s1600/A_RIXC.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4gAHWmJsIIdrtJ3kW5TwgLXxo4XZx5IzhdzHeHQb2iDFnfP_W8wOHL21DK71mBvKbcTIiTDOqJJ5vo6AJV3HA_O60xhUbUCv4ky6zZIJjJi0WoyNjUKyQSQeaDXxCU4z_Ga-t-pEoD18/s1600/A_RIXC.jpg" /></a>
<p class="caption">Lev Manovich presents the interactive installation On Broadway at the opening of <a href="http://rixc.org/en/festival/DATA%20DRIFT/">Data Drift</a>, curated by Lev Manovich, Rasa Smite, and Raitis Smits, Riga, Latvia, October 8 – November 22, 2015. View more photos from the exhibition opening <a href="https://www.flickr.com/photos/rixcriga/sets/72157659742163048">on Flickr</a>. See the installation shots <a href="https://www.flickr.com/photos/rixcriga/sets/72157661870347711">on Flickr</a>.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj703A20wJ_9IFqbIB0sk3WiehVdYvzqLoyeEq7bImaB5AYw8m5FGXH5yaD7Sr_l3X5FawDqUKKV2k7mWRldEWtwHVoBVw5kDqva-MWyiplDl81rM7X0Tg6RcN0lh3krMJoHXRnDKDw6snR/s1600/B_RIXC.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj703A20wJ_9IFqbIB0sk3WiehVdYvzqLoyeEq7bImaB5AYw8m5FGXH5yaD7Sr_l3X5FawDqUKKV2k7mWRldEWtwHVoBVw5kDqva-MWyiplDl81rM7X0Tg6RcN0lh3krMJoHXRnDKDw6snR/s1600/B_RIXC.jpg" /></a>
<p class="caption">Interactive installation On Broadway in the exhibition <a href="http://rixc.org/en/festival/DATA%20DRIFT/">Data Drift</a>, curated by Lev Manovich, Rasa Smite, and Raitis Smits, Riga, Latvia, October 8 – November 22, 2015. View more photos from the exhibition opening <a href="https://www.flickr.com/photos/rixcriga/sets/72157659742163048">on Flickr</a>. See the installation shots <a href="https://www.flickr.com/photos/rixcriga/sets/72157661870347711">on Flickr</a>.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguw55cY9IPyDvdU5ZiPg1koRMo-09COOsE4D_pX8mBZ1J-enn5dhnD2exltm29IX7yFxJtg-BN8kFC77FmetzRemVU5IJAKjD3CeupeMUJJwVMdKyelAt-n9TteimTeN_jiWt-xCLfiTmV/s1600/C_RIXC.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguw55cY9IPyDvdU5ZiPg1koRMo-09COOsE4D_pX8mBZ1J-enn5dhnD2exltm29IX7yFxJtg-BN8kFC77FmetzRemVU5IJAKjD3CeupeMUJJwVMdKyelAt-n9TteimTeN_jiWt-xCLfiTmV/s1600/C_RIXC.jpg" /></a>
<p class="caption">Interactive installation On Broadway in the exhibition <a href="http://rixc.org/en/festival/DATA%20DRIFT/">Data Drift</a>, curated by Lev Manovich, Rasa Smite, and Raitis Smits, Riga, Latvia, October 8 – November 22, 2015. View more photos from the exhibition opening <a href="https://www.flickr.com/photos/rixcriga/sets/72157659742163048">on Flickr</a>. See the installation shots <a href="https://www.flickr.com/photos/rixcriga/sets/72157661870347711">on Flickr</a>.</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxSd3UBVDHdUMFBKgV-W_RQhy3U1DSVFPff1JVqAWuurILZH-7ndWzyH6YWM9ZMP20PSawoWp4kDuIw2ErqgRnV6JgzWfyjstybVJH0kDdpD5V8qifP3CQ-TWl_RRIrvouKqLcl715NHeF/s1600/07_image.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxSd3UBVDHdUMFBKgV-W_RQhy3U1DSVFPff1JVqAWuurILZH-7ndWzyH6YWM9ZMP20PSawoWp4kDuIw2ErqgRnV6JgzWfyjstybVJH0kDdpD5V8qifP3CQ-TWl_RRIrvouKqLcl715NHeF/s1600/07_image.jpg" /></a>
<p class="caption">Interactive installation On Broadway in the exhibition <a href="http://www.nypl.org/events/exhibitions/public-eye">Public Eye: 175 Years of Sharing Photography</a>, New York Public Library (NYPL), December 13, 2014 - January 3, 2016.</p>
</li>
</ul>
<div class="post-text">
<h3>Website</h3>
<p><a href="http://on-broadway.nyc/"> http://on-broadway.nyc</a><p>
<h3>Authors</h3>
<ul>
<li>Artists: Daniel Goddemeyer, Moritz Stefaner, Dominikus Baur, Lev Manovich.</li>
<li> Contributors: Software Studies Initiative (Mehrdad Yazdani, Jay Chow), Brynn Shepherd and Leah Meisterlin, and PhD students at The Graduate Center, City University of New York (Agustin Indaco, Michelle Morales, Emanuel Moss, and Alise Tifentale).</li>
</ul>
<a name='more'></a>
<h3>Description</h3>
<p><a href="http://on-broadway.nyc/">On Broadway</a> is an interactive application and a public installation commissioned by the New York Public Library for its exhibition <a href="http://www.nypl.org/events/exhibitions/public-eye">Public Eye: 175 Years of Sharing Photography</a> (December 2014-January 2016).</p>
<p>The interactive installation represents life in the 21st century city through a compilation of images and data collected along the 13 miles of Broadway that span Manhattan. The result is a new type of city view, created from the activities of hundreds of thousands of people.</p>
<h3>Awards</h3>
<ul>
<li> On Broadway received the Silver Award in <a href="http://www.informationisbeautifulawards.com/news/116-2015-the-winners">Kantar Information is Beautiful 2015 Awards</a> competition.</li>
</ul>
<h3>Exhibitions</h3>
<ul>
<li><a href="http://123data.paris/" target="_blank">1 2 3 Data</a>, Fondation Groupe EDF, Paris, May 4 - October 6, 2018.</li>
<li><a href="http://www.nabi.or.kr/english/project/coming_read.nab?idx=583">Neotopia: Data and Humanity</a>, Art Center Nabi, Seoul, South Korea, November 1, 2017 – January 31, 2018.</li>
<li><a href="https://www.pratt.edu/events/exhibitions/pratt-manhattan-gallery/">You Are Here NYC: Art, Information, and Mapping</a>, The Pratt Manhattan Gallery, New York City, September 22 – November 15, 2017.</li>
<li>Data Esthetics exhibition, ACM Multimedia 2016, Amsterdam, The Netherlands, October 15 - 19, 2016.</li>
<li><a href="http://v2.nl/events/data-in-the-21st-century">Data in the 21st Century</a>, V2, Rotterdam, The Netherlands, December 18, 2015 - February 14, 2016. </li>
<li><a href="http://newlaboratoria.ru/www/eng/exhibition/archive/39/">Superconduction: Challenge of Art & Technology</a>, Riga, Latvia, November 6 - 7, 2015.</li>
<li><a href="http://www3.kutztown.edu/artgallery/">The Digital Visual. An exhibition of information design</a>, Kutztown University, Pennsylvania, October 22 – November 22, 2015.</li>
<li><a href="http://rixc.org/en/festival/DATA%20DRIFT/">Data Drift</a>, co-curated by Lev Manovich, Riga, Latvia, October 8 – November 22, 2015.</li>
<li>2015 West Bund Biennial of Architecture and Contemporary Art, Shanghai, China, September 29 - November 28, 2015.</li>
<li><a href="http://gdfb.nl/en">Biennial Graphic Design Festival Breda</a>, The Netherlands, September 25 - October 25, 2015 (and traveling for 2 years afterwards).</li>
<li><a href="http://www.nypl.org/events/exhibitions/public-eye">Public Eye: 175 Years of Sharing Photography</a>, New York Public Library (NYPL), December 13, 2014 - January 3, 2016.</li>
</ul>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.comtag:blogger.com,1999:blog-5984429690627964561.post-32369349396832541432016-04-06T19:40:00.000-07:002017-11-14T07:28:41.535-08:00Google Logo Space<ul class="post-images">
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4B7n1oblXupZ5lQ-z3EYmqlSyh3ZoOg1TJ4FXcbJe600lP-YxupgbZqZIg5OrXkO7CA8GrqMBrWe-tQ9CY7-p5bvi8jvJ_1kplx4rO5_FZxNcPp-832Nw3NmjBbpmdF-vYa9x-s51GAj/s1600/top_crop_5083388410_72707d761d_o.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4B7n1oblXupZ5lQ-z3EYmqlSyh3ZoOg1TJ4FXcbJe600lP-YxupgbZqZIg5OrXkO7CA8GrqMBrWe-tQ9CY7-p5bvi8jvJ_1kplx4rO5_FZxNcPp-832Nw3NmjBbpmdF-vYa9x-s51GAj/s1600/top_crop_5083388410_72707d761d_o.png" /></a>
<p class="caption">Google Logo Space. <a href=" http://www.flickr.com/photos/culturevis/5083388410/">Click here to see full 9000 x 6750 version on Flickr.</a></p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXyPB8Q52-u6nQW1eJyZs2-ZTXtKi_CmjzJfb21OJYHR2Qf5nkpCP0OOnoqRiQe0oSPjpOHhBZXWhJHL1UdkpcffBZ1Ysb75JQY-_UXE-Fn-ZBe5agOXEIxNu9XGBqVEDrv6gm0g6TUtEM/s1600/6837961833_37e7d6f1af_o.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXyPB8Q52-u6nQW1eJyZs2-ZTXtKi_CmjzJfb21OJYHR2Qf5nkpCP0OOnoqRiQe0oSPjpOHhBZXWhJHL1UdkpcffBZ1Ysb75JQY-_UXE-Fn-ZBe5agOXEIxNu9XGBqVEDrv6gm0g6TUtEM/s1600/6837961833_37e7d6f1af_o.png" /></a>
<p class="caption"> Close-up: small variations (the right part of the visualization).</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyGHS1enACUL4tMwZijEcFDvrERd2276hZUSEOnLmuT0iYCHBaxM1XFHeVIV5JsbUjQL3bEzKMIAzx1lOxdeFo9bQe0evQ4OAgYGvCcAC54_bWiDXZWLFoE-cOX5i8OI0RV5iBpv8sG_KW/s1600/6837962115_718c2bf1cd_o.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyGHS1enACUL4tMwZijEcFDvrERd2276hZUSEOnLmuT0iYCHBaxM1XFHeVIV5JsbUjQL3bEzKMIAzx1lOxdeFo9bQe0evQ4OAgYGvCcAC54_bWiDXZWLFoE-cOX5i8OI0RV5iBpv8sG_KW/s1600/6837962115_718c2bf1cd_o.png" /></a>
<p class="caption"> Close-up: medium variations (the center part of the visualization).</p>
</li>
<li class="image-large">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgenlhr95mLWU2LssGuAezXdLsV8pQETfjRV-6XUzUzYbyWLFODjidz_UM2LZuOfVDbQQl2lfIh3Y4pSoqiHxAu7vlSHeBazAUoWGAncZf4co_LCI_WqA1yw2GFUH4nmISpc1HOV9wDP1hS/s1600/6837962265_aaa4a309b8_o.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgenlhr95mLWU2LssGuAezXdLsV8pQETfjRV-6XUzUzYbyWLFODjidz_UM2LZuOfVDbQQl2lfIh3Y4pSoqiHxAu7vlSHeBazAUoWGAncZf4co_LCI_WqA1yw2GFUH4nmISpc1HOV9wDP1hS/s1600/6837962265_aaa4a309b8_o.png" /></a>
<p class="caption"> Close-up: extreme variations (the left part of the visualization).</p>
</li>
</ul>
<div class="post-text">
<h3>Images</h3>
<ul>
<li><a href="https://www.flickr.com/photos/culturevis/5083388410/">Additional visualizations on Flickr.</a></li>
</ul>
<h3>Author</h3>
<p>Jeremy Douglass</p>
<h3>Description</h3>
<p>Every day billions of people see a new logo appear on Google’s homepage. Since 1998 these logo variations have explored an ever-growing range of design possibilities while still retaining the “essence” of the original logo.</p>
<p>Our visualization of 587 logos shows the space of these variations.</p>
<a name='more'></a>
<p>This visualization shows 587 versions of the original Google logo, which appeared on google.com pages between 1998 and summer 2009. Some versions, which celebrate important events and people, appeared worldwide; others were only used on google.com home page in particular countries.</p>
<p>Each logo version was automatically analyzed using digital image processing software to extract a number of visual features. The visualization uses these features to situate all logos in 2D space in such a way that their positions indicate how different each logo is from the original.</p>
<p>“Difference” can be defined in many ways. Each definition would result in a different visualization. Our visualization shows only two of these possibilities.<p>
<p>Horizontal placement (X axis) indicates the amount of logo’s modification from the original. The least modified logos are on the extreme left; the logos with most modifications are on the extreme right.<p>
<p>Vertical placement (Y axis) indicates which part of a logo was modified. Logos where most of the modifications are in the upper part appear in upper part of the visualization; logos where most modifications are in the lower part appear in lower part of the visualization.<p>
<p>Only a few logos have very small or very large modifications. These logos appear around the edges of the “cloud” in the center that consists from logos with moderate changes.<p>
<p>The overall “shape” of this space of Google logo design variations is similar to the well-known normal (Gaussian) distribution which describes variability of all kinds of data encountered in natural and social sciences.</p>
<p>However, if we are to plot the logos over time (not shown in this visualization), we will find a different pattern - the amount of logos’ modifications from the original design has been increasing significantly over last few years.</p>
<p> Certain types of subject matter result in similar design solutions, which further structures this space of the design variations. For example, specific national observances often feature top-heavy additions of flags, fireworks, or crowns that cluster towards the top of the cloud, along with a set of logos featuring athletes in the air.</p>
</div>
Alise Tifentalehttp://www.blogger.com/profile/00178629624697634803noreply@blogger.com