This page is referenced by:
Madison Storrs (graduate student at North Carolina State University [M.A. in English with a concentration in Literature]; B.A. in English Literature and History from Florida State University) was our project manager and generated all static visualizations through Tableau during this research. She paid close attention to our schedule and milestones, ensured that communication among team members was efficient and harmonious, kept track of all project documentation, and took notes at group meetings. Maddie also communicated team needs between ourselves and the experts that we involved.
Calvin Olsen (doctoral student at NCSU [Ph.D. in Communication, Rhetoric, and Digital Media]; M.A. in English from the University of North Carolina at Chapel Hill [Comparative Literature, Medicine, and Culture], M.F.A. in Creative Writing from Boston University [Poetry]) was our web coordinator and data curator during this research. He oversaw the design and structure of our site, the installation of the content-management system (plus the required plug-ins), as well as the cleaning, refining, and augmenting of our group’s dataset. Calvin worked with the CMS to ensure that our site performs to our specifications and that the data is standardized, usable, and well-formatted. He will maintain and install any required updates to the CMS.
Benjamin Barkley (graduate student at NCSU [M.A. in English with a concentration in Film Studies]; B.A. in Secondary Education and B.A. in English from Clemson University) was our content specialist and generated the interactive timeline through Knight Lab during this research. He oversaw the authoring of the site’s main narrative as well as the creation of this page. Ben wrote section headers and captions, obtained necessary images to embed them in the site, and ensured that the data visualizations and maps integrate neatly with the written content.
In 2013, Johanna Drucker described assets, services, and display as “The basic elements” of digital humanities projects within her “Concepts, Methods, and Tutorials for Students and Instructors” on behalf of the UCLA Center for Digital Humanities (“1B: Analysis of DH Projects”). Indeed, The Art of War: MoMA Acquisitions 1940-1949 follows these guidelines. Our “repository of files” contain static visualizations generated through Tableau as well as an interactive timeline through Knight Lab. We also used stock images and photos of ourselves where appropriate.
About the Project
Scalar allows our users to find our assets “where they can be accessed,” thus it functions as our service for this work and powers each display because it is easily “called by a browser” for those that have the link. Our website ostensibly exists as an alternative museum for those that are interested, and one can move through a Floor Plan, the Art in Context, Portrait(s) of the Artists, a Gift Shop, and a place to Exit...they can even Meet the Donors. We hope you enjoy(ed)!
We are indebted to the following people who helped us along over the course of our research: for his constant guidance, Paul Fyfe (Associate Professor of English at North Carolina State University); on categories, genres, and ontologies, Sonoe Nakasone (Community Archivist of University Libraries at the University of North Carolina at Chapel Hill); on OpenRefine and Tableau, Mia Partlow (Resource Sharing Librarian at NCSU) and Natalia Lopez (Data & Visualization Librarian at NCSU); on visual storytelling, Robin Davis (User Experience Librarian at NCSU); on digital preservation, Brian Dietz (Digital Program Librarian for Special Collections at NCSU); on digital scholarly identity, Will Cross (Director of the Copyright and Digital Scholarship Center at NCSU).