{"id":415,"date":"2019-01-15T16:38:15","date_gmt":"2019-01-15T16:38:15","guid":{"rendered":"https:\/\/scholarblogs.emory.edu\/dmh\/?page_id=415"},"modified":"2025-03-17T19:30:01","modified_gmt":"2025-03-17T19:30:01","slug":"fall-2018-public-lecture-series","status":"publish","type":"page","link":"https:\/\/scholarblogs.emory.edu\/dmh\/fall-2018-public-lecture-series\/","title":{"rendered":"Fall 2018 Public Lecture Series"},"content":{"rendered":"

\u00a0Fall 2018 Public Lecture Series
\nEmory University, Atlanta<\/h2>\n

All public lectures will take place in the Woodruff Library Jones Room.<\/h3>\n
\n
\n

Monday, 24 September
\n5.30pm<\/h3>\n<\/div><\/div>\n
<\/span>Lauren F. Klein, Georgia Institute of Technology
\nData by Design: A Cultural History of Data Visualization, 1786-1900<\/div>
\n

\"Early<\/a>Data visualization is not a recent innovation. Even in the nineteenth century, economists and educators, as well as artists and illustrators, were fully aware of the inherent subjectivity of visual perception, the culturally-situated position of the viewer, and the power of images in general\u2014and of visualization in particular\u2014to convey arguments and ideas. In this talk, I examine the history of data visualization through the lens of three visualization pioneers: William Playfair (1759-1832), Elizabeth Peabody (1804-1894), and W.E.B. Du Bois (1868-1963), showing how each expressed ideas about data, error,\u00a0iteration, and interaction through their visual designs.<\/p>\n

I contend, moreover, that by attending to how each conceived of these concepts, we might better\u00a0understand\u00a0the function of visualization\u2014in the nineteenth century as today\u2014as a way to present concepts, advance arguments and perform critique.\u00a0My evidence for this second claim is both theoretical and applied; by reimagining these historical charts for the web, and by explaining how the affordances of HTML,\u00a0JavaScript, and other web technologies\u00a0enhance certain features while limiting others, I accentuate the arguments that went into the charts\u2019\u00a0original designs.\u00a0This talk therefore describes a digital humanities project and a nineteenth-century one, and among its conclusions is that, when engaging in digital humanities work\u2014and especially work involving visualization\u2014the nineteenth century is never far from view.<\/p>\n

Lauren Klein<\/strong>\u00a0is an associate professor in the\u00a0School of Literature, Media, and Communication at Georgia Tech, where she\u00a0also directs the Digital Humanities Lab.\u00a0With Matthew Gold, she edits\u00a0Debates\u00a0in the Digital Humanities\u00a0<\/em>(University of Minnesota Press), a hybrid\u00a0print\/digital publication stream that explores debates in\u00a0the field as they\u00a0emerge. Her first book,\u00a0Matters of Taste: Eating, Aesthetics, and the Early\u00a0American Archive<\/em>, is forthcoming from the University of Minnesota\u00a0Press. She\u00a0is also at work on two new projects:\u00a0Data Feminism<\/em>,\u00a0co-authored with\u00a0Catherine D\u2019Ignazio, and under contract with the MIT Press, which distills key\u00a0lessons from feminist theory into a set of principles for the design and\u00a0interpretation of data visualization, and\u00a0Data by Design<\/em>, recently\u00a0funded by an NEH-Mellon\u00a0Fellowship for Digital Publication, which provides an\u00a0interactive history of data visualization from the eighteenth century to the\u00a0present.<\/p>\n<\/div><\/div> <\/div><\/div> <\/div>\n

\n

Thursday, 18 October
\n6.30pm<\/h3>\n<\/div><\/div>\n
<\/span>Stephanie C. Leone, Boston College
\nNodes and Edges: Architecture in Baroque Rome under Innocent X Pamphilj<\/div>
\n

\"Pope<\/a>No one would deny that the artist-patron relationship between Gian Lorenzo Bernini and Pope Urban VIII Barberini was one of the most innovative in art history, but the emphasis on celebrities overlooks an important part of the story of building Baroque Rome. In particular, the patronage of Pope Innocent X Pamphilj (r. 1644-55) diverges from this model. Rather than relying on singular relationships, Innocent X harnessed a wide stable of creative and skilled architects, artists, and artisans to realize, in a short period, multiple works of architecture at the Piazza Navona, the Janiculum Hill, the Capitoline Hill, St. Peter\u2019s, and St. John the Lateran. To shift the focus from elite individuals to the range of constituents (nodes) and the relationships (edges) critical to architectural production, I employ Historical Network Research that unites traditional archival research with computational network analysis. This lecture presents the project\u2019s material and sources, research process and objectives, models and questions, and conclusions.<\/p>\n

Stephanie C. Leone<\/strong> is Associate Professor of Art History and Chair of the Art, Art History, and Film Department at Boston College. A specialist in Italian Renaissance and Baroque art and architecture, with a focus on Rome, she studies the topics of patronage, the papal court, secular architecture, architectural production, the building industry, art collecting, and material culture. Her publications include a monograph on the Palazzo Pamphilj in Piazza Navona, an edited volume on the art patronage of the Pamphilj family, and articles and chapters on the Pamphilj art collections and other subjects. She is a Fellow of the American Academy in Rome and, in spring 2018, was the Kress Fellow in Digital Humanities at Harvard University’s Villa I Tatti, Florence. She is working on a digital humanities project that will result in a book, Innocent X Pamphilj (1644-1655): Building Baroque Rome<\/em>, about this pope\u2019s patronage and the architectural production of his building sites.<\/p>\n<\/div><\/div> <\/div><\/div> <\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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