Legal Networks: Visualising the Violence of the Law

Pilcher, Jeremy

doi:10.1007/978-1-4471-5406-8_14

Cited by 1 publication

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“…The tools needed to analyze such immense structures are necessarily computer-based, and the most commonly used tool to dissect an oSNS is (social) network analysis. Today, more and more scholars and artists are using network analysis as part of their profession, and we witness a rise in artworks and research (Akdag Salah 2010;Helmreich and Fletcher 2012;Akdag Salah et al 2013;Pilcher 2013) that are based in social network analysis (SNA). While these studies describe the relevant aspects of network theory in order to report their analysis results, the initial steps and the decisions that are made on the way are either briefly touched upon, or just hinted at.…”

Section: Almila Akdag Salahmentioning

confidence: 99%

Culture, Technology and the Image

2020

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This book engages with the impact of the pervasive spread of digital networked technologies on the way images are archived, circulated and understood. It follows on from a series by the organization Computers and the History of Art (CHArt). In 2005, Will Vaughan, one of CHArt's founding members, identified a 'revolution that affects all our activities and not one that simply leads to the establishment of a new discipline to set alongside others' (2005: 2). Among developments in social media at the time was the creation of YouTube. Other events that have had wide-ranging transformative effects from around the same period were the launch of Facebook and the formation of the company, Google. Anna Bentkowska-Kafel has proposed that, from within art history, there has been a tendency to understand the impact of digital technologies as creating a distinct discipline (2015: 59). To the extent this is true it leads to the impacts of technological changes being underestimated. Disciplinary cores are not immune from such developments. Engaging with the changes by proposing, for example, the emergence of digital art history could be seen as part of a 'formulaic assimilation of various "new art histories" that have largely expanded the ground of existing canons and orthodoxies rather than offering substantive alternatives to the status quo' (Preziosi 2009: 489). By contrast, the approach that inspired the inception of this volume sees technological developments, which affect the ways that images are disseminated and analyzed, as bringing about fundamental changes to the humanities that engage with the visual sphere.The core of the work gathered together in this volume was originally presented at conferences organized by CHArt to discuss the interaction between the study and practice of art and developments in information and communication technologies. It has been complemented by a selection of additional invited chapters that reflect an engagement with culture in terms of that which, 'contains an impulse toward action: it is what is "done and practiced" (Busche 2000: 70 cited in Krämer and Bredekamp 2013: 21). The focus is on the impact technologies have on the creation of knowledge and its communication through reciprocal relationships

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Section: Almila Akdag Salahmentioning

confidence: 99%

Culture, Technology and the Image

2020

View full text Add to dashboard Cite

show abstract

Legal Networks: Visualising the Violence of the Law

Cited by 1 publication

References 7 publications

Culture, Technology and the Image

Culture, Technology and the Image

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