Thomas Aigner St. Pölten Diocesan Archives, Pölten
Béatrice Joyeux-Prunel Université de Genève, Faculté des Lettres
Conference is opened to general public, and due to a limited number of available seats, all persons attending the Conference are required to make a registration.
Link to Conference webinar
Digital Art History - Methods, Practices, Epistemologies 2nd International Conference, Zagreb 2019
The second edition of the Conference Digital Art History – Methods, Practices, Epistemologies is aiming at bringing together established and early career scholars, independent researchers, and professionals involved in collaborative digital research initiatives, interested in critical approach to the developments within the field of Digital Art History, in its interdisciplinary and trans-disciplinary encounters with other humanist disciplines, with social and technical sciences, new information technologies, and the requirements of the expanding filed of cultural industries.
The emphasis of the Conference is both on sharing the knowledge, and methodological insights acquired through recently concluded or ongoing research projects, and on the epistemic, ethical, and financial aspects of 'doing' Digital Art History. Papers focusing on the analytic methods and techniques applied to complex research questions, and on the theoretical and technical problems issuing from the "ambiguity and fluidity of historical record"1, correspond with the interest to wider community of digital art historians, historians of architecture, researchers in Digital Visual Culture Studies, specialists from heritage institutions, but also to digital artists, interface designers, and individuals from different strands of contemporary digital media industries, are particularly welcomed.
Concerning a wide area of interests which this conference aims at bringing together, the range of topics that will be discussed and examined include, but are not limited to practices & approaches to network visualizations, and social networks analysis, digital mapping, imaging, image modelling, integration of visual, spatial and temporal analysis, computational text and image analysis.
Interoperability, data standards, and shared data sources are among the most important technological and infrastructural preconditions for further development of Digital Art History, and will be also integral to the Conference presentations on data curation, data management services, sustainable data management plans, and their infrastructural requirements both at the local, and international level.
Collective efforts invested in the construction of institutional infrastructure supportive to digital research are closely related to the collaborative and team-work as a distinctive feature of Digital Art History. Motivated at the beginning of 2000's by the necessity of mutual support, collaborative research resulted with the number of professional networks & platforms intended to foster the communication of scholarly insights across the disciplines. Recent changes in the public perception of Digital Art History, which broth to the fore both advantages and limits of collaborative research, also raised the question of power relations between the centers and ‘new’ peripheries, of the relation between analogue & Digital Art History, and changes in the character of art historical knowledge.