= "a collaborative 'network mapping' platform and a knowledge base of relationships. You can map relationships at scale and unfold the mystery about complex issues that impact you and your community".
"Graph Commons is a collaborative 'network mapping' platform and a knowledge base of relationships. You can map relationships at scale and unfold the mystery about complex issues that impact you and your community.
Graph Commons members have been using the platform for investigative journalism, data research, civic activism, strategizing, organizational analysis, systems design, exploring archives, art curating and what not. We believe you will find a unique way to use Graph Commons in your own connected world." (https://graphcommons.com/about)
"Burak’s creation of the Graph Commons, an online network mapping tool, is an open platform for the creation of networks that encourages its users to explore the functional limits of network architectures as a mechanism for storytelling, data visualization, and modelling our contemporary moment, from graphing financial microtransactions to mapping superstructures splayed across a continent." (http://furtherfield.org/features/interviews/data-asymmetries-interview-burak-arikan)
An interview of founder Burak Arikan for Furtherfield, conducted by Carleigh Morgan :
* CM: The aim of the Graph Commons is to “empower people and projects through using network mapping, and collectively experiment with mapping as an ongoing practice.” But every visualising methodology has its hermeneutical blindspots and invisible shortcomings. With those boundary constraints and affordances in mind: What are networks in art, and how are they are extensions of or departures from the networks that they attempt to depict?
BA: I use network as a map vs network as an event separately in my work.
Network as a map is simply using dots and lines to represent observed or measured relationships in order to explore the structures of rather complex systems in life. For example, I am interested in revealing the institutionalization without walls in the world of art, so I look at relationships of artists exhibiting together with other artists, art institutions related by the artists they show, influence of collector-artist relations etc. Such network mapping reveals central actors, indirect connections, organic clusters, structural holes, bridging actors, outliers etc. Network mapping provides a view of such qualities about that particular art world that you wouldn’t see otherwise.
A network map is both a visual and a mathematical language, that you can visually follow dots and lines with your eyes, as well as apply calculations on this data diagram. When you simply record and measure activities as data points, then you can link them to generate more insight and value from the linked whole than the sum of its parts. This is typical data linking method is commonly employed in security, marketing, finance, and social media industries by governments and corporations. One position I have in my art is to use such data mapping and analysis capacity on power relationships, mapping the ones who are mapping us. No need to say, my work is not necessarily about the internet of art things, but I’ve been interested in revealing the relations at scale in variety of fields ranging from juridical systems to cinematic languages.
Network as an event is a living substrate, it is people hanging out together, machines transmitting data packages, neurons firing signals, online platforms for social networking, physical ecosystems of humans and animals where widespread infectious disease can occur. These are physical, digital, hybrid living and multilayered systems maintained by diverse interactions between independent agents, where their small interactions governed by certain protocols together constitute an ever changing larger whole. Building a living network, or network as an event is another line of effort I’ve been pursuing in my work. For example, in 2007 I’ve built Meta-Markets, an experimental online stock market for trading social media profiles, where users did IPO (Initial Public Offering) their profiles and traded with others, with a goal to evaluate the value of a social media profile, the information you cannot get from the service provider company. It ran for 2 years and a community of members formed a dynamic trade network among a couple of thousand social media profiles.
- CM: What types of agencies do network maps engender their makers with, and what kinds of constraints to they bring to bear on their creators? As an artist who works with the form of networks, have you witnessed a formal re-alignment of your thinking to reflect these structures? Through ongoing interrogations with and construction of networks as an aesthetic model, would you consider yourself more alert to the networks that condition our contemporary moment?
BA: As with any research, network maps are subjective too. Because by just measuring a reality you claim a subjective position. Thus, data points are always generated, rather than collected. Furthermore, network diagrams are usually totalizing and contemplative. As McKenzie Wark writes criticizing Frederic Jameson’s cognitive mapping: network maps freeze into a contemplative totality that prescribes an ideal form of action that never comes.
My network mapping work starts with raising new questions on critical relations that scale. Then I conduct research to generate data about a “particular world”, which enables many stories, interpretations, and use cases.
As a response to the lack of the “dialectical” in the frozen totality of static diagrams, I started using algorithmic interfaces in my installations. Such interactive network maps let you touch and change the positions of the dots on a map, yet browse the names without losing their relationality to each other as the software simulation continuously organizes the network layout. This way, normally invisible relations not just become visible, but also touchable, which enables us to effectively explore the chain of influences and relationality at scale. Touching the nodes also displays information cards, where you can get richer information about individual data points. By using an algorithmic interface you navigate back and forth between an abstract large picture and concrete juicy details of a complex issue. I think such encounters help the viewer to effectively interrogate the particular issue at hand and develop better insight. This aesthetic and pedagogical experience of interactive cartography is very different from a static diagram, that still lacks criticism." ((http://furtherfield.org/features/interviews/data-asymmetries-interview-burak-arikan))
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