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Boland, R. , & Yoo, Y. (2007). Wakes of innovation in project networks: The case of digital 3-D representations in architecture, engineering, and construction. Organization Science, 18(4), 631–647. 25. Allen, P. , & Murray, S. (2003). The Beauvais Cathedral Project. In Computer Vision and Pattern Recognition Workshop (p. 10), Madison. Los Alamitos: IEEE Computer Society. 26. , & Brück, E. (2002). Historical buildings in 3D. In EVA London 2002. Electronic Visualisation and the Arts, London. pdf.
3), each project is represented as set of lines between partner organisations. The resulting force-directed network graphs provide powerful, macroscopic views of (sub)cultures arising from these projects and hint at larger patterns of growth, development, division and perhaps even replication within the movement. Two trends are particularly noticeable across these visualisations. The first is a shift in structural relationship between NYCGA and Occupy-related groups 3 Quantifying Culture: Four Types of Value in Visualisation 35 and community organisations (shown in black).
1986). Color name boundaries for equally bright stimuli on a CRT: Phase I. Society for Information Display, Digest of Technical Papers, 86, 70–73. 29. , Xin, J. , Lis, M. , & Billger, M. (2007). Analysis of cross-cultural color emotion. Color Research and Application, 32(3), 223–229. 30. Hupka, R. , & Tarabrina, N. V. (1997). The colors of anger, envy, fear and jealousy: A cross-cultural study. Journal of Cross-Cultural Psychology, 28(2), 156–171. 3 Quantifying Culture: Four Types of Value in Visualisation 37 31.