Notes for Chapter 6

1Instead of graph, Jacques Bertin (or his translator) uses the term network for structures of edge-connected nodes. Kress and van Leeuwen use the term diagram. We will be following NIST's Dictionary of Algorithms, Data Structures, and Problems (DAD) as well as other on-line sources closely.

2 I prefer node to vertex, since a vertex is simply formed by the intersection of lines, but in the abstract structures we will be looking at, the nodes represent abstract objects. Similarly, I prefer edge to branch, because branch suggests descent from mother node to daughter, and hence suggests the graph is directed, which it may not be.

3 Miguel Covarrubias, "The Tree of Modern Art - Planted 60 Years Ago" c. 1933 Vanity Fair-cited in Astrit Schmidt Burkhardt (2000).

4The analogy has been thoroughly explored by Adrian Miles, "Hypertext Syntagmas: Cinematic Narration with Links, Journal of Digital Information, 1:7 (2000)

5Giles Peaker, "Fragments of the Passagenwerk: A Meander Through the Arcades Project of Walter Benjamin," OtherVoices 1:1 (1997); a slightly fuller and more recently revised version at art.derby.ac.uk/%7Eg.peaker/ arcades/

6"Paris, the Capital [sic] of the Nineteenth Century [1935]" Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, translation by Harry Zohn of Charles Baudelaire. Ein Lyriker im Zeitalter des Hochkapitalismus. 2 Fragmente., NLB, 1973 and also in The Arcades Project, tr. Howard Eiland and Kevin McLaughlin, Harvard University Press, 1999, pp. 3-13.
"The Paris of the Second Empire in Baudelaire [1938]," also in Zohn. This was the draft that Adorno found unacceptable; it was revised with a new center section, "Some Motifs in the Poetry of Charles Baudelaire" and was then accepted by Adorno and the Institut für Sozialforschung.