Revisiting <Emphasis Type="Italic">Tom Tom:</Emphasis> Performative Anamnesis and Autonomous Vision in Ken Jacobs’ Appropriations of <Emphasis Type="Italic">Tom Tom the Piper’s Son</Emphasis>

In 1969 the American avant-garde filmmaker Ken Jacobs gained wide recognition with a two-hour long interpretation of a 1905 silent short film. Ever since, the artist has kept on revisiting the same material, each time with a different technological approach. Originally hailed as a prime example of structural filmmaking, Jacobs’ more recent variations on the theme of Tom Tom the Piper’s Son beg for a broader understanding of his methods and the meanings implied. To gain a deeper insight in this on-going mise-en-abyme (and an obsession dominating a large part of his career), this essay expands comments by the artist himself with concepts taken from animation, media-archaeology and Warburg’s Mnemosyne atlas. Rereading a filmic text with minute attention, remediating it from an analogue to an electronic format, and reanimating the original action by adding a variety of intervals: all Jacobs’ strategies are aimed at demonstrating the afterlife of Tom Tom in a contemporary cultural context.     

On the Properties of <Emphasis Type="Italic">α</Emphasis>-Unchaining Single Linkage Hierarchical Clustering

In the election of a hierarchical clustering method, theoretic properties may give some insight to determine which method is the most suitable to treat a clustering problem. Herein, we study some basic properties of two hierarchical clustering methods: α-unchaining single linkage or SL(α) and a modified version of this one, SL?(α). We compare the results with the properties satisfied by the classical linkage-based hierarchical clustering methods.     

Improved Classification for Compositional Data Using the <Emphasis Type="Italic">α</Emphasis>-transformation

In compositional data analysis, an observation is a vector containing nonnegative values, only the relative sizes of which are considered to be of interest. Without loss of generality, a compositional vector can be taken to be a vector of proportions that sum to one. Data of this type arise in many areas including geology, archaeology, biology, economics and political science. In this paper we investigate methods for classification of compositional data. Our approach centers on the idea of using the α-transformation to transform the data and then to classify the transformed data via regularized discriminant analysis and the k-nearest neighbors algorithm. Using the α-transformation generalizes two rival approaches in compositional data analysis, one (when α=1) that treats the data as though they were Euclidean, ignoring the compositional constraint, and another (when α = 0) that employs Aitchison’s centered log-ratio transformation. A numerical study with several real datasets shows that whether using α = 1 or α = 0 gives better classification performance depends on the dataset, and moreover that using an intermediate value of α can sometimes give better performance than using either 1 or 0.     

The Documentary Surreal: Film and Painting in Luciano Emmer’s <Emphasis Type="Italic">La Leggenda di Sant’Orsola</Emphasis> (1948) and Henri Storck’s <Emphasis Type="Italic">Le Monde de Paul Delvaux</Emphasis> (1946)

This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on art was self-consciously presented as an art film. Focusing on La Leggenda di Sant’Orsola (1948) by Luciano Emmer and Le Monde de Paul Delvaux (1946) by Henri Storck, this article also investigates how the animation of the static image by the film medium relates to Surrealist practices.     

Seriation in the Presence of Errors: NP-Hardness of <Emphasis Type=Italic>l</Emphasis><Subscript><Emphasis Type=Italic>∞</Emphasis></Subscript> -Fitting Robinson Structures to Dissimilarity Matrices

In this paper, we establish that the following fitting problem is NP-hard: given a finite set X and a dissimilarity measure d on X (d is a symmetric function from X ² to the nonnegative real numbers and vanishing on the diagonal), we wish to find a Robinsonian dissimilarity d _R on X minimizing the l _∞ -error ||d − d _R || _∞ = max_x,y ∈X{|d(x, y) − d _R (x, y)|} between d and d _R . Recall that a dissimilarity d _R on X is called monotone (or Robinsonian) if there exists a total order ≺ on X such that x ≺ z ≺ y implies that d(x, y) ≥ max{d(x, z), d(z, y)}. The Robinsonian dissimilarities appear in seriation and clustering problems, in sparse matrix ordering and DNA sequencing.     

The Unseen Déjà-Vu: From Erkki Huhtamo’s <Emphasis Type="Italic">Topoi</Emphasis> to Ken Jacobs’ Remakes

This commentary on Edwin Carels’ essay “Revisiting Tom Tom: Performative anamnesis and autonomous vision in Ken Jacobs’ appropriations of Tom Tom the Piper’s Son” broadens up the media-archaeological framework in which Carels places his text. Notions such as Huhtamo’s topos and Zielinski’s “deep time” are brought into the discussion in order to point out the difficulty to see what there is to see and to question the position of the viewer in front of experimental films like Tom Tom the Piper’s Son and its remakes.