What of all these would stay with us in the future?

Hi everyone, it was difficult for me to focus during this past week, so I only managed to write my reflection on the readings and discussion in a series of not very well-connected paragraphs. I apologize and thank you for your understanding.

In the first session of the seminar, we discussed how content on the Internet, although accessible from all over the world, is created in a specific place. The same consideration could be extended to online platforms. People around the globe use online social media or service platforms where they create their own culture-specific content, but these platforms were also designed in a particular cultural and temporal context. We know that platforms constantly evolve and readapt as a response to multiple factors, but I wonder if the original way and place where they were designed can contribute to transforming into global culture certain elements that before were only specific of a given culture. I have in mind the concept of a school yearbook and its derivative form as Facebook. But I also think on how the now normalized use of emojis and gifs has replaced the verbalization of ideas and feelings, a phenomenon that decades ago was associated mostly with technology users in East Asia.

The video lecture “Algorithmic Cruelty and the hidden costs of ghost work” brought feelings of empathy towards those workers trapped on the mechanism of on-demand online platforms 🙁 Not only because I can imagine their precarious situation, but also because many of the traits of these jobs are common to other productive activities, one of them being graduate life, and perhaps academic life, more generally. Not having a 9 to 5 shift nor being able to finish your workday is the most evident connection. Grant writing and competition can be seen as task-based work, in which we are also required to be hunting for grants and calls for papers constantly on our own. Most of the time, our chances to receive a grant depend on who else applied for it, but institutions would never reveal this information to the applicants. We are kept in a state of isolation and ignorance about this process, not knowing who exactly gets to choose/hire us and why.

A recent Pittwire email on Zoom protocols reminded me of the flagging system in social media, and how the role of the moderator has to be better defined, as well as the expected behavior of participants. I was disappointed not to find among the protocols a suggestion to avoid having in their background any direct source of light, such as a lamp, which could be replaced it with an interesting but not too distracting object to which other zoomers could direct their gaze when they get tired of looking at people’s faces; or to encourage attendants to change to a more appropriate attire even if it is only for the Zoom session, or from the waist up.

Temporarily, virtual technology mediates and shapes all our social and work interactions, but this process will impact the more permanent life and work of the future. Just like Alison, I want to be optimistic and believe that we will develop an aversion to this type of communication that will push us to avoid it, but it is hard not to consider another scenario. In a virtual conversation with my father about this possible future where more and more activities are transferred into the virtual world, his deepest hope was that “church could be one of them.” As graduate students, should we start developing our online pedagogical skills and portfolio more seriously?

Not a place, but an event

Just like others, I was also unsuccessful in uploading the same data to the WHG. Instead, I spent more time looking up places. My first exploration was my hometown in Mexico, Chihuahua, which before my search I associated with both the name of a city and of a state. The variants names for Chihuahua were 35 ( Altepetl Chihuahuah ; Byen Chihuahua ; CUU ; Chihuahua ; Chihuahua City ; Chihuahua by ; Chiuaua ; Chiuauae ; Chivava ; Cihuahua ; Ciuaua ; Dakbayan sa Chihuahua;   Tsiouaoua ;   chiuaua ;   chiwawa ; chyywaywa. chyywaywa ; qi wa wa shi ; zhi hua hua shi ;  Čihuahua ;  Čiuaua ;  Τσιουάουα ;  Чивава ;  Чиуауæ ;  Чиуауа ; Чіуауа ; ציוואווה  ; ჩიუაუა ; チワワ ; 奇瓦瓦市 ; 芝華華市 ; 치와와, plus three entries in scripts that my word processor could not reproduce). These are a considerable amount of variants, especially when compared to other more worldwide known places, such as London. The fact that the spelling of Chihuahua is not intuitive might influence in it having these many variants. But they are not too many variants compared to some Chinese cities, as I will show later.

In the WHG, Chihuahua was connected to what I thought it was a well-known geologic formation within the state of Chihuahua, the Copper Canyon. But in the map, this place was located in California, near the border with Mexico. Then I searched for Copper Canyon and results only appeared in the United States. I tried searching using the Spanish names Cañón del Cobre and Barranca(s) del Cobre, and there were no results available.

My second exploration was in China. In my research as an art historian, when trying to follow the itinerary of Latin American artists or intellectuals that traveled to China after WWII, I often find challenging to know exactly where they went. This is because both in published books and manuscripts, the “Spanish” names of Chinese cities are always spelled differently from the contemporary standard names which use pinyin (phonetic transcription). Especially in manuscripts, the authors often write something that sounds like a place, but they might be making up the script.

When searching for the Chinese city that I know better, Hangzhou, the name variants were 69 in total (Chan’nktsoou ; Chang-cou ; Chang-čou ; HGH ; Hancheum ; Hanchow-fu ; Hanczou ; Handzou ; Handžou ; Hang ; Hang Chau ; Hang-chiu-chhi ; Hang-chou ; Hang-chou-shih ; Hang-hsien ; Hangchow ; Hangcsou ; Hangdzou ; Hangdžou ; Hanggouo ; Hangtsjou ; Hangzcouh ; Hangzhou ; Hangzhou Shi ; Hangĝoŭo ; Hančžou ; Hong-chu-su ; Hong-ciu ; Hàng Châu ; Hâng-chiu-chhī ; Hòng-chû-sṳ ; Hòng-ciŭ ; Khanchzhou ; Khandzhou ; Khangdzou ; Khanzhou ; Xanchjou ; hang cow ; hang zhou ; hang zhou shi ; hangacau ; hangajho’u ; hanghtshw ; hangjeou ; hangjeou si ; hangju ; hangzhw ; hanjha ; hannaco ; hʼnggwʼw ; kancu ; Χανγκτσόου ; Хангџоу ; Ханджоу ; Ханжоу ; Ханчжоу ; האנגגואו ; हांगचौ ; हांगझोऊ ; ਹਾਂਙਚੋ ; காங்சூ ; ഹാങ്ഝൗ ; หางโจว ; ཧང་ཀྲོའུ། ; 杭州 ; 杭州市 ; 항저우 ; 항저우 시 ; 항주 plus five entries in scripts that my word processor could not reproduce)

In a way, this makes me feel more relaxed and imagine that I am not the only one dealing with this toponymy issue. I checked other Chinese city and province names (Sichuan, Suzhou, Dalian), and the variants of names included were not as many as for Hangzhou. Why is there so much information about this particular city in the WHG? The collection of variant names of Chinese WHG could be useful in my future research in relation to Chinese names. Just as with any other resource, it makes sense to know what are the strengths of the WHG as a tool for our own research, instead of expecting it to have equal amount and quality of information about all places in the world.

For the annotated text, I tried with a section of the article “Not a Place, but a Project. Bandung, TWAIL, and the Aesthetics of Thirdness” by Vik Kanwar. I am interested in mapping events, which many times take the name from the place where they were first hosted. Like in the case of Bandung, the 1955 Conference and the Indonesian City, the overlap between event and place labels happens often, Versailles and Westphalia were the other two cases in this text. I can imagine that something similar could happen with mapping biennales or other artistic events, such as Art Basel, which happens in Basel, but also in Miami and Hong Kong.

One idea from the readings that stayed with me was how a gazetteer is a collection of triples <N, F, T>, Name, footprint, and type. This is, the basic information required to understand better a place includes what is it called, where it is, and what kind of thing it is (Goodchild, 28-29). Adding the time element makes the definition of a place more complete. I shared this formula with the students of the Intro to Western Architecture course for which I am the TA now, suggesting them to use it when writing about a place, e.g. the Aswan High Dam built in the Nile Valley in the 1960s. I hope this formula helps them and myself to improve our writings.

Latinx and color

The term I analyzed was Latinx, a gender-neutral neologism from the 21st century to refer to people of Latin American cultural or ethnic identity in the United States. 338 records with this term in the title were found in the Web of Knowledge. With this dataset, I created a couple of Networks. The first one showed the most common terms in the titles and abstracts of those articles:

I could not figure out what was the logic for the color-coding in this network. The only two terms in blue were color and Latinx child, while similar terms to the latter, such as Latinx adolescent and Latinx youth were in green. Words with connected meaning, including recent study, paper, or article, were in both the red and green sections. The most prominent term was student. 

The second network was on co-citations:

Beyond the information on co-citation,  this visualization allowed me to see more clearly what are the areas of study and journals were the term Latinx is being used. In this case, the color-coding was easier for me to interpret, showing three main fields of study: health, behavior, and education.

When searching in the Web of Science the term Latinx and art, only one result was found: Take two: Prescribing Latinx and medicine as aesthetic form. Searches in Woldcat.com or Pitt library were also not abundant. In my consideration of developing an art historical research that deals with the term Latinx, it would be useful to look at how other fields have previously approached or used it.

Why have certain articles not been cited so many times?

(1) Linda Nochlin, “Why Have There Been No Great Women Artists?” ARTnews, January 1971, 194–204.

What is the total number of citations?  30

What can you learn about the number of citations to this article per year since it was published?  From what I can understand, the number of citations started to increase in 2015 and 2019 was has the highest point of citations, with a total of 8.

What can you learn about who cites this article?  What are their disciplinary identifications? The majority of the articles were published in journals of art history, history, art and culture, museum and curatorial studies, or feminist and gender studies. It was also cited in publications of literature, theater, design, or area-specific, such as Japanese studies, or Latin American studies. Also, one citation was from an article on a journal of Informational Science (Ciencias de la información, in Spanish, I am not sure is that is the correct translation). All articles were written in English, but a few were published in journals with Spanish or German titles.

(2) Nochlin, L

What is the total number of publications? 46

What is the H-index? 3

What are the average citations per item? 0.5

Which of these numbers would you prefer to have used in evaluations for hiring and tenure?  Why?

My first idea is that both numbers could offer information for the evaluation but should not be taken as single or central parameters. Evaluating a candidate should be a more holistic process that takes into account many other aspects of the person’s profile, such as age or time working in the field. As we have seen in the readings, the reasons why an article or an author gets cited are many and not always linked to the quality of content. But if one of the main institution’s values or objectives is to increase the statistics of productivity of their faculty based on publication and impact on the high-profile journals, then it would make sense to use these numbers and to prioritize the candidates that bring statistics up. But if the institution has other interests, such as an orientation towards teaching or reaching out to the broad community beyond academia, then the citation indexes are not too relevant.

Is this kind of analysis appropriate for all academic fields? Why or why not?

No, the nature and structure of each field are different. From the readings, I understood that the Web of Science only includes certain types of “top” journals and prioritizes English-written articles. Just to mention one example, for academics working on regional-specific fields, it seems logical to write in the languages of such regions, and not necessarily always or most of the time in English.

Women in the Architectural Field

Answering the question of what I want to know took me longer than I expected. Although it is clear that gender inequality is present in most of the aspects of society, motivation to start an investigation of a specific domain came when I could link it to my past and present experiences.

As a teenager, a mentor dissuaded me from studying architecture and to choose a career more appropriate for a woman. This semester I am a TA for the course of Intro to Western Architecture, where the majority of the architectural students are male, and where all historical references are of male architects. Without conducting any research, my initial impression was that the architecture profession is highly male-dominated, especially in decision-making positions. This means that the buildings and spaces inhabited by the whole population are designed mostly by men, even those spaces that have been traditionally linked to women’s activities, such as the house. So, my starting question was how is gender inequality measured in the architecture profession?

The indicators of women’s education in architecture and their participation in the architectural profession at several stages of their careers were the most revealing source of information. But there were many limitations in finding cross-national indicators, as I will discuss later. In the case of the United States, the National Center for Education Statistics (NCED) showed that in 2013, 43% of total enrolled students in architecture programs were females, and according to the National Council of Architectural Registration Boards (NCARB) in 2016, 46% of newly licensed architects were women. This almost gender equality situation drastically changes when considering the percentages of women in top positions of architectural firms or architecture schools. Data from the Association of Collegiate Schools of Architecture (ACSA) was the most cited resource. This 2014 research looked at women architects in different positions, starting from students and interns and reaching leadership positions, such as chair or director in architecture schools, distinguished professors, and winners of renowned International awards. According to the American Institute of Architects, 15% of licensed architects were women, and 19% of 86 deans at US architecture schools were women.

Indicators that considered the architectural practice on a transnational lever were limited. Even surveys that supposedly presented a worldwide view, their data collection came from the United States, Canada, the United Kingdom, Europe, New Zealand, and Australia. Other research used the data available on the websites of the world’s 100 biggest architecture firms (in terms of total workers or projects built), of which only three are headed by women, while only two have management teams with a majority of women. A ranking of countries according to the ratio of male to female architects in the architectural field, presented among the top countries Vietnam (0.7 male architects per female architect) Turkey (0.8 male architects per female architect), Sweden and Norway (1 male architect per female architect), Germany and France ((1.3 male architects per female architect) and Spain (1.4 male architects per female architect), while the countries with a more male-dominated architectural field were Japan, the United States, and the United Kingdom. More details about these statistics required to be purchased. It is important to notice that they did not take into account hierarchy, decision-making or leadership positions.

 

My research was conducted in English, which affected the outcome: most of the data I found was centered in English-speaking countries. It was mainly through articles from online architecture magazines that I found the reference to specific sources of data. One question that I keep having is if research that only looks at the major international firms, instead of looking at a country case-by-case could be relevant. The main reason why I will think it would be valuable is because these companies construct worldwide and often set an example for local architects.

 

Sources:

https://www.acsa-arch.org/resources/data-resources/where-are-the-women-measuring-progress-on-gender-in-architecture/

https://www.arch2o.com/survey-shows-best-and-worst-countries-for-female-architects/

https://www.archdaily.com/200761/reframing-the-stats-about-architecture

https://www.architectmagazine.com/practice/where-gender-inequity-persists-in-architecture-the-technology-sector_o

https://www.architectural-review.com/10017497.article

https://www.architectural-review.com/essays/results-of-the-2016-women-in-architecture-survey-revealed/10003314.article

https://www.bdonline.co.uk/the-top-five-countries-in-the-world-to-be-a-female-architect/5064651.article

https://www.dezeen.com/2017/11/16/survey-leading-architecture-firms-reveals-shocking-lack-gender-diversity-senior-levels/

https://www.ncarb.org/nbtn2017/demographics

https://www.statista.com/statistics/587324/number-of-architects-in-major-architecture-companies-worldwide/

https://www.world-architects.com/en/architecture-news/insight/a-short-survey-of-women-in-architecture

Changing shapes and disappearing formats

The most vivid image I keep from our last seminar session is one of the transforming shape sorting cube. I refer to the analogy of how a search engine creates a result (could we say knowledge?) by using our search questions in the way similar to how a toddler’s cube toy would change the shape of a 2D hole in its surface to fit exactly a 3D object that we try to put inside the cube. I am curious about this idea and would like to know more about how the shapes change.

One question stuck in my mind–perhaps I have not found or created the right-shaped hole to insert it in–is how is the original format in which a text was created/published is taken into consideration in quantitative literary studies? As part of Jim’s question about what quantitative literary studies are, Emma mentioned the need to remove all the “bookness” of a text to conduct the quantitative analysis. But I wonder if that is completely possible to achieve. When a text is created, the format in which it is planned to be distributed should somehow affect its structure, choice of words, and meaning, even if it only by the limitations of length. For example, Charles Dicken’s serialized writing in periodicals will necessarily condition the way he conceived his work and the final result.

Many aspects from Bode’s article seemed unfamiliar to me, but one that I could relate more to was the reference of the histories of transmission and the “infrastructure of knowledge-making” seen as a “process in which meaning is inevitably transformed, if not lost entirely.” Transmitting static knowledge seems difficult to imagine, and I am even skeptical of the possibility that meaning can be completely defined. However, I still find myself aspiring to uncover the real version of a past event or its purest evidence. Is this is not possible, what should we aim for instead?

Marisol’s Intro

Hi everyone, and happy second week of the semester! Lunes de Revolución (Monday of Revolution), was a weekly literary supplement of the Cuban newspaper Revolución, published from 1959 to 1961. This title inspires me to think that every Monday, just like today, can be revolutionary. And, as a second-year PhD student from the Department of History of Art and Architecture at Pitt,  I look at publications such as this one to search for the unexplored artistic connections between Latin America and East Asia during the early Cold War.

I was born and raised in Mexico. I got a BA in (European) Humanities and an MA in Contemporary Art History while I lived in Spain. Back in 2011, I applied to a PhD program in Spain to study the aesthetics of Catalonian writer Eugenio d’Ors, but I didn’t get in. Instead, I moved to Hangzhou, near Shanghai, where I began to research the subject on which I now work, much less boring than my first topic. I got an MA from the China Academy of Art, in which I documented the visit of 9 Mexican artists to China during the 1950s and a large-scale exhibition of Mexican art that toured in China during 1956.

From my experience, I think discoveries can happen if you don’t cling to a concrete trajectory and accept a certain degree of uncertainty and of feeling lost and ignorant. This is how I feel right now regarding digital humanities and digital methods. Let’s see what happens.