Maria Giovanna Mancini, A Conceptual Model for Art Criticism, Digital Art History – Methods, Practices, Epistemologies, abstract (original) (raw)
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This catalogue presents an overview of the curatorial concept developed for the Expo includes detailed descriptions of many of the applications that are included in the exhibition. Structurally, the DigitalHeritage Expo is divided in 6 sections, so that similar applications and projects can be grouped in terms of technology used, scope of the work, and types of communication style. The chapters of this catalog are order in a similar manner: (1) Immersive Environments; (2) Digital Heritage @ Work; (3) Virtual Museums; (4) Edutainment; (5) Art and Creativity; (6) Multivision
THE ROUTLEDGE COMPANION TO DIGITAL HUMANITIES AND ART HISTORY
Chapter title: Approaching Aby Warburg and Digital Art History Thinking Through Images, 2020
The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on transdisciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education. Kathryn Brown is a lecturer in art history and visual culture at Loughborough University, UK.
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The paper describes the main characteristics of the scientific programme of the fourth conference of Digital Humanities in the Nordic Countries (DHN2019) that took place in Copenhagen in March 2019. DHN2019, as the preceding DHN conferences, aimed to connect researchers and practitioners addressing all topics that generally belong under the Digital Humanities field. The DHN conferences address in particular researchers from the Nordic countries, comprising the Baltic region, but are also open to researchers from all over the world. Thus, DHN2019 attracted participants from 27 countries. The call for papers of DHN2019 followed the strategy proposed by the organizers of the DHN2018, who attempted to encompass two conference traditions, one from the humanities accepting abstracts as submissions and one from computer science accepting full papers of varying length. The latter type of submission was the most popular in 2019 and the present proceedings collect these papers. With respect t...
History Compass, 2021
The past decade has seen tremendous growth and innova- tion in the use of digital resources, methods, and tools in the history of art and architecture. While digital art history is less developed than text-based disciplines, the emergence of new digital standards for visual and spatial data, and ad- vances in computer vision are poised to revolutionize the field. This article provides a survey of recent developments in digital art history from the perspective of European and North American publications and conferences. I discuss the digitization of visual, spatial, and textual resources by muse- ums, research centers, and individual researchers. Research- ers have developed a variety of tools for digitally analyzing art and architecture, which can replicate or challenge tra- ditional methods of formal, iconographic, and socio-histor- ical analysis. Trends in published research indicate uneven growth in the theoretical sophistication of digital art history scholarship. While digital methods are quickly moving into the training of art history professionals and students, digi- tal art history communities in museums, research institutes, and universities remain somewhat fragmented. I conclude with a reflection on critiques of digital art history, several of which have not been fully addressed in recent scholarship.
University of Denver's Institute for the Digital Humanities
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This institute brings together 20 humanities scholars from a variety of disciplines with little or no technical expertise to collaborate with each other and with experts in the field of digital humanities who are at the forefront of developing tools and methods for using digital media in their scholarly work. Institute fellows participate in a series of 3 workshops over an 18-month period. The institute program is designed to introduce and train fellows in the use of cutting-edge technological tools and methods, and to offer support and guidance as they work in groups to carry out a research project that involves collaboration with the public. Focus will be on the use of digital tools to facilitate collaboration among humanities scholars across various disciplines, to present and consider new strategies of representation and knowledge in emerging digital literacies, and to forge more engaging relationships with the public.
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Cultural Heritage Infrastructures in Digital Humanities, 2017
Digital Humanities might appear a recent phenomenon. Yet almost seventy years have gone by since Father Roberto Busa initiated his Digital Humanities project: the computer-assisted lemmatization of the complete Thomistic corpus (http://www.corpusthomisti-cum.org/). Although Busa first conceived of this project in 1946, it took him nearly four decades to realize it; leveraging the power of the digital computer as an ordering machine capable of processing and listing potentially infinite amounts of textual data. The development of the first computational analysis of archaeological materials, a numerical classification of Eurasian Bronze axes conducted by Jean-Claude Gardin and Peter Ihm in the late 1950s (Cowgill 1967; Huggett 2013) introduced a different aspect of computer-based research: one that brought to the fore the possibilities afforded by digital methods for dimension reduction, discovery and visualization of latent structures of complex data. Fast-forwarding to the present day, two surprisingly distinct communities have already emerged in digital arts and humanities research. On the one hand, Digital Humanities, at least until very recently, appeared preoccupied with transforming the traditions of text-based humanities computing, drawn directly from library collections and scholarly practice. Digital Heritage, on the other hand, has drawn more from theories and practices in digital archaeology and the digital representation of material culture but has often gained attention for its adoption of cutting-edge visualization and virtual reality technology. While driven by the traditions of custodian institutions such as museums, galleries, libraries, and archives and special collections, Digital Heritage leverages the capabilities of contemporary technologies in visualizing and representing cultural objects beyond text, and occasionally borrows ideas from the entertainment industry. Digital Heritage might influence Digital Humanities in terms of lessons learnt from visu-alization, scanning / recording, 3D photorealistic modelling, GPS and mapping technologies , and possibly even instructional design and serious game development. But Digital 1