Tuesday, October 06, 2026

Networking Made Visible

 In the Western Church, Augustine’s dictum “The Word comes to the element; and so there is a sacrament, that is, a sort of visible word” could be the bumper sticker for sacramental understanding. Don’t mind that every tradition comes to its own interpretation of what that means. Robert Jenson, however, summarizes the foundation of that phrase as, “when the Bible’s God speaks to us… it comes to and then with some ‘element,’ some piece of the external word.”[i] For my tradition this visibility allows us to grasp, sometimes literally, grace as when bread is placed in our hands in the Eucharist.

How do we grasp other intangibles though? God makes grace tangible in sacraments, but how are we able to grasp the many ways we exist in relationship with others? Are there ways for us to understand the ecosystem of relationships that we inhabit? Let’s my personal network to think about visualizing personal networks.

Thankfully the answer is yes. While it does not involve good bread or tasty wine, the best way to visualize relationships, perhaps surprisingly, is math. Graphical techniques can help us create maps of our relationships with others, and the web those relationships weave. A very good introduction to understanding network science can be found on the website for the UC Davis Data Lab.

In thinking about my network, I am going to limit my network, because mapping my entire personal network would be a grueling, nigh-impossible task. I decided to think about the people I have interacted with through my previous podcast, that is, people whom I had brought on as guests. I also included people who had talked with me about publicly presenting a topic or leading a discussion. 

A visual representation of a 2-node network involving 4 circles at the top, numerous points along the bottom, and even more lines connecting points to the circles above.
The visual representation of my personal network

 I also need to define what kind of network model I am looking at. In the introduction site I linked above, there are two kinds of networks. I decided to use a two-node network to see where the people I have interacted with have mostly been connected to me. I chose four areas of life that have been important to me. First, I looked to see who was connected to the Evangelical Lutheran Church in America. Second, I looked to people who are active in academia. Third, I included people who have some public connection to discussing popular culture beyond mere fandom. Finally, I looked at people who have some connection to Campus Ministry. A sample of my data matrix is shown. If someone has a connection to an area, the corresponding box gets a value of one, otherwise the value is zero.

Choosing a two-node network seemed most appropriate in this case because it shows the arenas I inhabit, as a pastor and as a public theologian. This analysis felt more helpful than the way my network are connected to each other. Not surprisingly, because I looked at the guests on my podcast, almost everyone listed has some connection to popular culture. That makes sense given my podcast looked at the intersection of popular culture and theology and faith. However, because I have been asked or I have asked others to speak on topics outside of popular culture (e.g. White Christian Nationalism, Artificial Intelligence), I have a limited number of folks who have no connection to popular culture.

Likewise I have a great number of connections to the Evangelical Lutheran Church in America (ELCA). As a pastor in that denomination, this element makes sense. Additionally, it serves as a possible warning. I do not give any data in this visualization about member node demographics. This image does not show if my connections are men or women, white or people of color. It does not give up any other religious affiliation. I could have included a node of ecumenical partners with the ELCA, but I did not. The ELCA however is in some reckoning the whitest denomination in the United States. If my network leaned as heavily toward the ELCA as it did toward popular culture, I could easily have shared only white voices. Refining this visualization in the future, I believe I would separate the people’s nodes into different sectors like “White women,” “White men,” Women of color,” “Men of Color.” This delineation could help me suss out those distinctions further.

Even rudimentary analyses like this one give us some ability to understand what values shape our networks beyond our own internal voice saying, “of course, I have a diverse network.” I could easily have deluded myself, knowing that one of my guiding principles with the podcast was including the voices of women and people of color, voices often kept out of conversations of theology or popular culture, or even the intersection. This visualization becomes a visible word of that principle.



[i] Jenson, Robert, (1978). Visible Words, Fortress Press, Philadelphia, p.3

Humanities Coding in the Information Age

 

Code frome C++ that instructs the program to display the phrase "Hello world !" on the screen

"Hello, World !" code in C++ 
Wafelack, CC BY-SA 4.0 
<https://creativecommons.org/licenses/by-sa/4.0>, 
via Wikimedia Commons

Coding has been consistently present in my life, particularly early on. In elementary school, my classmates and I programmed LOGOS turtles to move around a screen. I have written the traditional “Hello World!” introduction code in multiple computer languages. I copied video game code out of magazines to build fighting games or create programs to play music that I keyed in. In my junior year of college, I wrote a program to simulate the chaotic system of the driven, damped, pendulum, cranking through numerical solutions of differential equations. In graduate school, I routinely used Matlab code to analyze audio signals. As my kids grew up, I introduced them to platforms like Scratch where they could begin their own projects. One of those kids is now a software engineer.

For me, coding has always been connected to the scientific endeavor, running calculations, digital signal processes, or other such work. Whether it is hubris or subject blindness, I will confess that website development hardly counted as coding in my eyes. It always felt perhaps more like a craft project people used to show off the sweaters they made for their cats.

This misguided notion of mine was formed in the age of people pimping out their Myspace and geocities pages. In the development of an inherently online existence, coding is far more important in web design for engagement to be sure, but ever more the real power lay in one’s ability to access information. The access to information is one of the most powerful currencies in this information age.

While companies and corporations want people to be able to access information in order to maximize their profit, projects that seek to inform and edify others for their own sake, are vital partners in the work toward such goals as the common good, solidarity and justice. These projects need solid coding to offer information as well as be able to create space for people to share what they know. 

A painted mural of storks with extremely long necks flying toward each other
One of the Inter|Urban murals in Cleveland
 from https://arrestedmotion.com/2016/10/streets-interurban-project-cleveland/

 This understanding is especially important in the humanities, as evidenced by the Painting On Walls project. Erin Benay describes the project in her case study “Art History and Action In The Rust Belt.”[i] Benay worked in the Cleveland area, as what she called an “engaged art historian.”[ii] Cleveland, like many other Rust Belt cities that suffered decline with the crumbling of the steel industry, had a robust mural tradition. Abandoned buildings make excellent canvasses for murals, after all.

Benay started a service learning course at Case Western Reserve University, in collaboration with LAND Studio’s Inter|Urban project, where students learned the history of murals and do something with that knowledge that went beyond traditional class work. Benay wrote, “I wondered how we might connect the longer history of mural painting with the more recent trajectories of urban development and public art-making that regularly appeared in Cleveland news. Even more significantly, I was curious to see if it was possible for students of art history to do something with this knowledge, rather than to simply regurgitate it in neatly conceived seminar papers.”[iii]

As the course progressed and students documented and learned about the murals, it became evident that passersby engaged the public art visually. That each of the murals was based on Anisfield-Wolf Book Awards went largely unknown. Students in the course wanted to provide access to background material and context for the murals. The murals could move beyond an object of visual engagement and offer something more.

To accomplish this end, the students created informational text about murals and placed them in train and bus platforms. Additionally, they created QR codes that offered greater information about the art. Benay wrote, “Developing a better mobile app and more sophisticated digital mapping interface for Inter|Urban would, students believed, allow this content to be more accessible to the very underrepresented populations that the texts seek to address.” [iv]

Among all of the art history, coding underlined the work that took the information to the people of Cleveland giving a broader view of the people who lived in the city. This work of coding moved this project beyond a class assignment and connected folks outside of academia.



tThe Routledge Companion to Public Humanities Scholarship. Routledge.

[ii] Benay, p. 96

[iii] Benay, p.99

[iv] Benay, p. 105