Names on a Memorial: The Power of Information Arrangement

Today’s post honors Phillip Gibbs and James Green, killed shortly after midnight on May 15, 1970 by police at Jackson State College in Mississippi.  On May 4 of that year, Allison Krause, Jeffrey Miller, Sandra Scheuer, and William Schroeder were killed by the Ohio National Guard at Kent State University.

This post will also be the Memorial Day essay for Discover the Region, where some of my writings will now be published.

Like all language, organized information persuades.  It “directs our thinking,” as biologist Stephen Jay Gould wrote about classification.  Information arrangement shapes perception and interaction.  Names on memorials are examples of organized information where arrangement defines a visitor’s experience.  The thoughtful chronology of the Vietnam Veterans Memorial builds a space for individual remembrance.  A World War I memorial does the same, but with a different arrangement strategy, reflecting the difference in the two wars.  In contrast, the random arrangement proposed for the World Trade Center memorial almost derailed the project.  Yet, in another context, random builds community at the Memorial Temples of Burning Man.

By listing names on the Vietnam Veterans Memorial (VVM) in chronological order, designer Maya Lin gave surviving Vietnam Vets personal spaces for contemplation, spaces that make the VVM our most powerful memorial.  Names are arranged by date of casualty, not date of death.  Those who died later of wounds received in battle are listed on the day of the battle along with their buddies who died that day or went missing.  When a surviving soldier visits the VVM, he need only remember one name to look up in the index.  He finds the panel and sees the names of his friends who died in a battle he fought.  They remain together where he can visit them and remember his own experience.

Architect EdwinLutyens influenced Lin with his World War I Memorial to the Missing of the Somme.  This open structure of 16 huge columns, with intersecting arches and a truncated tower in Thiepval, France lists more than 72,000 names on its huge columns, names of British soldiers missing from a single battle.  Like the VVM, the memorial gives survivors an individual place of remembrance, but the two use different arrangements to achieve the same goal.  The VVM honors over 58,000 dead or missing during a 20 year war.  The Somme memorial lists those missing from a five month battle, most from a one day massacre when British troops surged into waiting German lines.

In World War I, Britain recruited Pals Battalions.  Men who signed up together could serve the entire war with their buddies.  Cities and towns mustered their own fighting units, sending them off to France with names like the Sheffield City Battalion.  On July 1, 1916, many of these towns lost nearly a generation of young men.

The names on the Somme memorial are arranged by British Army Order of Precedence.  That’s how military units appear on the parade ground.  These units came from individual towns, so the arrangement has the effect of organizing missing soldiers by their home towns.  Even today, with only a few remaining World War I vets, relatives and neighbors have their own place of remembrance.

Michael Arad, designer of New York’s National September 11 Memorial, ignored individual places of remembrance when he selected random as the arrangement.  This would have dispersed names from each company all over the monument.  Instead of a personal place to remember fallen coworkers, survivors would have had to hike to see each name.  The arrangement infuriated surviving families and they eventually refused to contribute to the memorial fund.  At that point, the design committee reconsidered and offered “meaningful adjacencies.”  Families can now place their loved one’s name within a group or next to an individual.  Many names will appear with the companies they worked for, but they might also be with special friends.  In one case, a married couple who worked at different companies will now be forever together on the memorial.

The designers of the National September 11 Memorial paid dearly for an arrangement error, losing money, prestige and the community’s good will.  They went from simplistic random to perhaps the most complex arrangement on any memorial with individualized name placement and multiple types of groupings.  If the designers had originally selected an obvious arrangement, such as geographic by floor, survivors would have had their places of remembrance.  They would not have needed strong family associations to fight against the arrangement and ultimately to fight for a more detailed names design.

In the right context, however, even random can build private spaces of remembrance.  David Best did this at Nevada’s Burning Man art festivals.  His Memorial Temples in 2001, 2002, 2003, and 2004 reflect the Somme memorial as arched open structures, topped with a tower and filled with names.  Burners inscribe the names they want to remember anywhere on the memorial.  The effect is random, but each inscription describes a private remembrance.  For the week of the festival, Burners have a personal place to grieve, a place they have chosen.  When the Temple burns on Sunday, individual memories and the combined memories of all Burners float into the evening sky.


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Names on a Memorial: Meaningful Adjacencies

(This post acknowledges October 12 as a day honoring Christopher Columbus, who promoted European colonization of the New World, thus beginning the desecration of North and South America’s original civilizations.)

Michael Arad, designer of the World Trade Center 9/11 memorial, originally envisioned a random name arrangement.  He felt the imposition of any organized arrangement strategy would cause “grief and anguish.”  However, it soon became clear that it was the randomization of the names that was causing the grief and anguish.    

Families of those who died understood that random trivializes life and death.  They wanted the name arrangement to indicate affiliation, such as business, friends and family, along with details including the names of the businesses, ages of the victims, and floor numbers.  Family groups fought for this vision by refusing to donate to the memorial, demonstrating the emotional power of information arrangement.  The designers  compromised with a name arrangement that is intended to look random but is actually a highly organized list of names with “meaningful adjacencies.”  This is not a simple structure with one set of arrangement rules.  Each name is placed according to individualized criteria.      

Both the Vietnam Veterans Memorial (VVM) and the Memorial to the Missing of the Somme incorporate meaningful adjacencies, as does every arrangement method, except random.  A lack of meaningful adjacencies defines random.  The VVM lists names in chronological order.  Those who died on a given date are adjacent on the memorial.  Military survivors can find friends by finding their own time of service at a designated place on The Wall. 

In France, the Somme memorial from World War I achieves the same goal with a different strategy.  Most of the 72,000 names listed on that memorial went missing on the same day, so chronology has no meaning.  These names are listed by military units, bringing people together because of recruitment by towns.  British military units in World War I often consisted of men from a single area, a method that has since been abandoned.  Whole units died during the surge on July 1, 1916.  Today, people from these towns can find their missing generation of young men in one place on the massive walls.   

These two arrangements are brilliant in their simplicity, but they organize groups whose members have similar defining characteristics.  That is not the case with the World Trade Center memorial.  People who died on September 11, 2001 were working or they were visiting a building, flying in an airplane or trying to rescue others.  They were with their co-workers, perhaps with their families, or they were alone.  They did not have a common reason for being where they died.       

When the arrangement controversy was raging, I submitted a proposal for a geographic structure and that is essentially what is being used.  It should be noted that I have no evidence that anyone read my proposal.  Arrangement by location was always an obvious option for this memorial.  My suggestion was based solidly on location to the point of listing people on airplanes by their seat assignments.  People who know each other sit next to each other, so meaningful adjacency is achieved.I also wanted the names from the towers listed by floor.  Again, people on the same floor know each other.  This method added meaning by demonstrating that most people below a certain floor escaped and most above a certain floor did not.  To my mind, a full geographic arrangement illustrates the tragedy more completely by showing where people were and who they were with when they died. 

The selected memorial design and its name arrangement include panels in two squares that surround two pools, one for each tower and the airplane that crashed into it.  The Pentagon and its airplane, the First Responders, and Flight 93 are with the South Tower.  Those who died in the 1993 attack are with the North Tower. 

In all, there are nine groups.  The title of each group is inscribed at the beginning of its associated names.  For example, “World Trade Center” appears before the names of those who died in the North or South Tower.  The names are then arranged by affiliation, which is not indicated, except for the First Responder agencies and units, who are reprieved of the need to look random.     

In general the families were not happy with this compromise.  They wanted more information next to each name, specifically age, company and floor.  My proposal would resolve company and floor, and also included ages with each name.  I want to say that the struggle here shows the folly of allowing non-organizersto develop such an important name arrangement.  People who don’t understand the impact of organized information thought up random.  But there are other factors to consider here.  Does every business want the kind of advertising that comes with being part of a tragedy?   

Once random was abandoned, the designers encouraged individual participation.  Next-of-kin could request placement near another name, a friend in the same company perhaps, or a loved one who worked for a different business.  Companies could request that names be arranged by department or work unit.  This resulting structure is therefore a puzzle for the designers to solve.  We can assume there were trade-offs. 

The names of a married couple who worked for different companies are listed together.  The couple has three affiliations – to each other and to their separate companies.  This could be resolved by taking the married couple out of their respective companies and placing them separately or by putting their two companies next to each other.  But this couple may not be the only ones in their companies with cross-corporate affiliations.
The designers were careful to hedge their promises with phrases like “to the best of our abilities.”  They understood subjective decisions would have to be made.  For example, if there has to be a choice, is it more important to put a married couple together than two best friends? 

My fully location based arrangement eliminated subjectivity.  However, the married couple would not be together forever on the memorial.  Their names would be sitting in their separate offices.  The chosen arrangement is a compromise with many mistakes, pretending to be random being especially egregious.  But individual attention to the placement of each name is a new idea in memorial name arrangement.  It came about accidentally when the families refused to let the designers abandon their responsibility to those who died.  The families didn’t get everything they wanted, but what they did get was personalized attention for each name engraved at the National September 11 Memorial and Museum.

(This post is part of a series about how names are arranged on memorial structures.  I returned to the series when I prepared an online course on Strategic Information Arrangement for Simmons College.  Other posts in the series can be found in the IsisInBlog Directory under “Names on a Memorial Series.)


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Reinventing Knowledge: The Medieval Controversy of Alphabetical Order

In their Reinventing Knowledge chapter on monasteries and convents, Ian McNeely and Lisa Wolverton mention findability techniques developed following the invention of the page, including alphabetical order (p. 91).  David Weinberger, in Everything Is Miscellaneous, also discusses the development of alphabetical order in the Middle Ages.  He points out that it took a long time tocatch on because, in his opinion, it was “conceptually confusing.”  To prove his point about confusion, he quotes alphabetizing instructions from 1286, which apart from the funny spelling, are actually quite clear (pp. 26-27).  Weinberger is correct, however, that alphabetical order took centuries to be accepted, but he is wrong about the reason.  It was not too confusing, it was too easy. 

According to Mary and Richard Rouse in their article “Statim invenire: Schools, Preachers, and New Attitudes to the Page,”* the alphabet is an artificial method of ordering as opposed to a rational method.  This distinction can be seen in glosses, reference works that explained details of the Bible without biblical interpretation.  These glosses eventually evolved into glossaries.  Information in early glosses appeared in the same order that it appeared in the Bible or other religious books.  This is called a rational order.  Even indexes were arranged in the same order as the book being indexed.  To find something, you had to already know what page it was on.  Rouse & Rouse indicate these early finding devices were meant to reflect the concept that the “universe is a harmonious whole” (p. 202).  So the primary concern of arrangement was to promote philosophy not to find information.

That changed when authors of religious books needed streamlined access to information.  As preachers, they started alphabetizing material called distinction collections to help them prepare weekly, or in 1200 perhaps daily, sermons.    Alphabetical order is an artificial method because it has no purpose other than to arrange information.  It does not reflect how the book is organized.  It does not reflect a philosophical theory.  It just puts material into a simple, easy to understand structure.  The preachers apologized for using alphabetical order, but they went ahead and developed the method because they needed to find information fast. 

            The controversy over alphabetical order continues today.  An information architecture discussion list recently had a lively exchange about popularity ranking vs. the alphabet.  One person preferred popularity because it was felt that alphabetical order is essentially random.  The respondent here was confusing an artificial arrangement with a complete lack of order.  More interesting, however, is the assumption that a rational order with unknown values, such as popularity, is preferable to an artificial order with known values, such as the alphabet.  We pretty much all know the alphabet, but if you look at a list of items arranged by popularity, you can only guess at individual placement.

Function determines the form of an arrangement.  Popularity and the alphabet serve different functions.  There are many situations where popularity is the most valuable organizing choice.  But if you just want to display information for fast location, those preachers in the Middle Ages developed a very easy method.
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* The Rouse and Rouse article is available as a chapter in their book Authentic Witnesses: Approaches to Medieval Texts and Manuscripts (1991) and in the conference proceedings Renaissance and Renewal in the Twelfth Century (Robert L. Benson and Giles Constable, eds., 1982). 


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Names on a Memorial: Lutyens at Burning Man

Memorial Day honors those who died serving our country, but we may also visit a grandmother’s grave. Throughout the year, there are opportunities to keep her memory alive. One of the most distinctive is Burning Man, a festival for building and experiencing art in the desert, with or without clothing.

Each September, Burners transform a flat empty playa near Gerlach into Black Rock City, Nevada’s third largest urban environment. After a week it disappears with the mantra, “Leave No Trace.” Nothing on the playa reveals Black Rock City’s existence until the next year. Climaxing the festival, a giant wooden Man burns the Saturday night before Labor Day in a bacchanalian rite of dance, performance art, and flames.

I attended Burning Man for six years. I have also researched name arrangement on memorials, including the Memorial to the Missing of the Somme in Thiepval, France, designed by Edwin Lutyens. When I first saw a photo of the WWI Memorial, it reminded me of Burning Man. Thiepval was an influence on Maya Lin for her Vietnam Veterans Memorial. David Best may also have studied Lutyens before building the Temple of Tears, Temple of Joy and Temple of Honor.

The Thiepval Memorial is a truncated tower with sixteen piers supporting intersected arches that increase in size for a two-story effect. In the interior, these piers hold names of 72,000 primarily British missing soldiers. Best’s Temples also featured arches, towers, multiple stories, and interior names. Constructed of scraps from manufacturing 3D dinosaur puzzles, similar to cookie dough scraps, they were feathery shrines of light and memory.

Best’s first Temple at the 2000 Burning Man, Temple of the Mind, designed with Jack Haye, was a ramshackle building not reflecting Thiepval. But in 2001, Best and Haye got serious. Their Temple of Tears (or Temple of Memory) featured a truncated tower and two arches, one on top of the other, giving the appearance of two stories. Burners wrote memorial inscriptions inside. Sunday night it made a glorious blaze of memories and dinosaur templates.

In 2002, Best, with Haye, continued building upon his own work in addition to Lutyens. The Temple of Joy had the truncated tower, the multiple story effect, and interior names, but no arches. His Temple of Honor in 2003 brought the arches back, retaining the two-story idea, with an elongated tower. Temple of Stars, Best’s final Temple in 2004, reflected only his own work, with a single story, tall tower and no arches. As always, Burners inscribed their memories into the interior. Mark Grieve designed the Temples of Dreams in 2005 and the Temple of Hope in 2006 without reference to Lutyens.

The Thiepval Memorial organizes names of the missing by regiments, rank and alphabetical order. Because British fighting units mustered into the Pals Battalions of their towns and neighborhoods, the Memorial keeps friends and relatives together. At Burning Man, the names are random, an ill advised organizational structure for memorials. Michael Arad, designer of the proposed World Trade Center Memorial, tried random. When surviving families vilified the suggestion as insulting, he reluctantly changed his easy-way-out random to a display that honors victims as friends and co-workers.

But random at Burning Man is only an appearance. Burners each carefully select a place on the Temple for their memories. They choose that place for a reason. Perhaps it reminds them of their loved ones; perhaps it’s easy to get to or a challenge to reach. Each memory remains in its sacred space until the burn on Sunday night.

Some say the Temple is a superior burn to the Man. After all, the Man always looks the same, but the Temple changes each year. The burning of the Man is an invitation to party. The Temple burn glows with memories and the reverence is real, regardless of what Burners wear or do not wear.

This year the Man is green, an obvious 2007 theme for a festival that leaves no trace. Check it out. You don’t need clothes, although costumes are a big part of the experience. Bring a tent, a shade structure, and lots of sunscreen and water. Bring those who now live only in your heart. When the Temple burns, it will carry your love into the sky.


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