Modeling the Network of Dutch and Flemish Print Production, 1550-1750

The production of artistic prints in the sixteenth- and seventeenth-century Netherlands was an inherently social process. Turning out prints at any reasonable scale depended on the fluid coordination between designers, platecutters, and publishers; roles that, by the sixteenth century, were considered distinguished enough to merit distinct credits engraved on the plates themselves: invenit, fecit/sculpsit, and excudit. While any one designer, plate cutter, and publisher could potentially exercise a great deal of influence over the production of a single print, their individual decisions (Whom to select as an engraver? What subjects to create for a print design? What market to sell to?) would have been variously constrained or encouraged by their position in this larger network (Who do they already know? And who, in turn, do their contacts know?) This dissertation addresses the impact of these constraints and affordances through the novel application of computational social network analysis to major databases of surviving prints from this period. This approach is used to evaluate several questions about trends in early modern print production practices that have not been satisfactorily addressed by traditional literature based on case studies alone: Did the social capital demanded by print production result in centralized, or distributed production of prints? When, and to what extent, did printmakers and publishers in the Low countries favor international versus domestic collaborators? And were printmakers under the same pressure as painters to specialize in particular artistic genres? This dissertation ultimately suggests how simple professional incentives endemic to the practice of printmaking may, at large scales, have resulted in quite complex patterns of collaboration and production. The framework of network analysis surfaces the role of certain printmakers who tend to be neglected in aesthetically-focused histories of art. This approach also highlights important issues concerning art historians’ balancing of individual influence versus the impact of longue durée trends. Finally, this dissertation also raises questions about the current limitations and future possibilities of combining computational methods with cultural heritage datasets in the pursuit of historical research.

Multiraciality Enters the University: Mixed Race Identity and Knowledge Production in Higher Education

“Multiraciality Enters the University: Mixed Race Identity and Knowledge Production in Higher Education,” explores how the category of “mixed race” has underpinned university politics in California, through student organizing, admissions debates, and the development of a new field of study. By treating the concept of privatization as central to both multiraciality and the neoliberal university, this project asks how and in what capacity has the discourses of multiracialism and the growing recognition of mixed race student populations shaped administrative, social, and academic debates at the state’s flagship universities—the University of California at Berkeley and Los Angeles. This project argues that the mixed race population symbolizing so-called “post-racial societies” is fundamentally attached to the concept of self-authorship, which can work to challenge the rights and resources for college students of color. Through a close reading of texts, including archival materials, policy and media debates, and interviews, I assert that the contemporary deployment of mixed race within the US academy represents a particularly post-civil rights development, undergirded by a genealogy of U.S. liberal individualism. This project ultimately reveals the pressing need to rethink ways to disrupt institutionalized racism in the new millennium.