DAY 1: Session 1

 

Symbolical Aspects of Network Images

Tomáš Kolich (Institute of Art History, Faculty of Arts, Charles University)

The research of networks has become a familiar method in various disciplines including art history. Since its beginning, the network modeling has been accompanied by an ideological subtext. For some, networks represent a shift from old hierarchical establishments into new dynamic types of organization. For others, they are the hidden structure of our universe. The key features of the proliferation of this network enthusiasm are illustrations and visualizations.

The paper will take an art historical approach towards network visualizations and their ideological connotations. Since the simplifying visual language of nodes and links makes it possible to blur the line between structures that are physical, virtual, social or mechanical, the network visualizations inherently possess a strong symbolical aspect. The paper will display the migration of network images from academia into everyday culture (art, cinema, advertising) where they connote values such as transformation, interconnection or interdisciplinarity.

The paper will demonstrate three visual steps that are being used in the symbolization of network images, namely the juxtaposition with a hierarchical system, the unification of the look of nodes and links and the allegory (personification). The paper will argue that the symbolical aspect of network images is influencing not only the public perception of networks but also the way academics approach their network models. With cases that include art history, the paper will demonstrate that network images are being used in the promotion of the network approach not necessarily because of their informational value but rather because of their symbolical potential.

 

​Art market and artistic movements: A multilayer temporal network analysis of Ljubljana Biennial of Graphic Arts

 

Andrej Srakar (Institute for Economic Research (IER) and School of Economics and Business, University of Ljubljana)

Petja Grafenauer (Academy of Fine Arts and Design, University of Ljubljana)

Nataša Ivanović (Academy of Fine Arts and Design, University of Ljubljana)

 

In a recent article, Hodgson and Hellmanzik (2019) explore possible contributions to career creativity profiles of artistic movement association and consider effects of association on different categories of movements and intra-movement heterogeneity in creativity profiles.

 

In our research, we extend their analysis in theoretical and methodological terms. Based on a large temporal, yearly dataset (1955-1991) constructed from the catalogues of Ljubljana Biennial of Graphic Arts, the world's oldest existing biennial exhibition of graphic arts, founded in 1955, we use multilayer temporal network analysis (visualizations and calculus of temporal quantities, see Batagelj and Praprotnik, 2016) to detect the influence of belonging to an artistic movement on the success on art market. A multilayer network analysis framework (Gallotti & Barthelemy, 2015) is developed over time and time series and cluster analysis techniques (Barabasi, 2005; Scherrer et al., 2008; Hempel et al., 2011; Zhao et al., 2011; Sikdara, Ganguly & Mukherjee, 2016) are used to study and visualize the development of network over time. We develop additional statistical theory for the used estimators.

As Ljubljana Biennial of Graphic Arts has taken place in a socialist country we compare the results to more general findings and data from Western European countries. Our preliminary results show specific trajectories of art market in socialist era, which do not concur with general trends in Western Europe.

The research is the first such exploration of art market in Eastern European countries and provides novel findings and methodologies to stir future research.

Architectural and Urban Planning Competitions – Contribution of Quantitative Analysis to in-depth Insights in the inter-war Architecture

 

Tamara Bjažić Klarin (Institute of Art History, Zagreb), Tea Truta (independent researcher)

Research on public competitions for architectural and urban design, provides an important insights in the history of modern architecture. It was the premise in the background of the research on the architectural competitions held in Zagreb between 1918 and 1941, where public architectural competitions were defined as a social and cultural phenomenon denoting the influence of architecture upon its immediate social environment, and affecting the dynamics and operational strategies of the local architectural community. Apart from proving its initial premise, the objective of the project was to examine possible contribution of quantitative data analysis to the complexity of research results, and its potential to divulge new lines of investigation. The research encompassed social and professional relationships within architects' professional community, social networks generated by the competitions, and Zagreb interwar architecture as their cultural and organizational framework. The investigation of historical records, and classification of obtained data according to the types of architectural design required by the competitions, their objectives, investors, number of participants, awarded projects, etc., and resulting data sets were processed using CAN_ISdb digital tools for statistical and network analysis. Statistical analysis was applied to the structural elements of the competitions – building typology, type of the competition, number of submitted applications, etc. – while the relationships between the participants (competitors, jury members, investors), were examined using common concepts of network analysis (centrality, detection of strong and weak ties, identification of structural holes, etc.). These results were compared with the knowledge acquired by the analogue methodology of art history and the results obtained by quantitative analysis, indicating new lines of possible investigations are in the focus of this presentation.

Session 2

 

​Digital Methodologies on the Example of Networks and the Historical Preservation Practice in the GDR (Network Analysis and Data Practices)

Franziska Klemstein (Bauhaus-Universität Weimar, Faculty of Media, Theory of Media Worlds)

 

The diversity of conservation practice in the GDR is in my doctoral thesis illustrated, inter alia, by the analysis of networks, such as the network of honorary conservationists in the GDR. With the help of the graph database neo4j these networks should not only be reproducible, but above all for the first time be analyzable, queriable and visible as a network.

The data are mapped in neo4j as relationships between persons, places and objects. For a further use of the data, a clear referencing with authority data (“Normdaten”) is indispensable. With regard to the objects and persons that are of importance within the network, the use of Wikidata has been proven to be helpful. Here, Wikidata is not only used as a repository for authority data and referencing, but as a link to other databases and can be also used for geo-referencing, for example. Data sets that were not yet available in Wikidata are created as new data records with all references and authority data, so that all data is publicly available. 

The information from the sources was captured digitally. They were made referenceable and provided with authority data. Because of this, the information will be discoverable for everyone and the data will be reusable.

 

​Visualising Hypotheses as the Method Used to Approach Archaeological Research Questions

Dominik Lengyel (BTU Cottbus-Senftenberg)

 

Catherine Toulouse (Lengyel Toulouse Architects)

 

At the intersection of Visual Culture Studies, Museology and Digital Cultural Heritage we have developed a method for visualizing archaeological hypotheses that despite being vivid and immersive explicitly preserves the scientific content excluding unintentional content that implicates anything except archaeological science.

It consists of two complementary parts: virtual modelling and virtual photography. Other than usual we do not consider the spatial model as the decisive core in mediating archaeology but as an integral part of the visual mediation. We consider its counterpart, virtual photography, as equally important. Contrasting the geometric abstraction of the model, strictly based on the verbal hypotheses, our way of depicting the scenery uses traditional methods of realistic architectural photography. Leaving out any staffage, the emphasis of our approach lies on translating scientific hypotheses from text to image and enabling the images to illustrate science internally among scientists as well as toward the greater audience.

The presentation aims to demonstrate and illustrate this method by several projects developed by the authors in cooperation with archaeological research institutions like Cologne Cathedral and its Predecessors (by order of and exhibited in Cologne Cathedral), The Metropolis of Pergamon (within the German Research Fund Excellence Cluster TOPOI, lastly exhibited as part of Sharing Heritage, the European Cultural Heritage Year 2018, The Palatine Palaces in Rome (by order of the German Archaeological Institute, as the Pergamon project exhibited in the Pergamon Museum Berlin), and The Ideal Church of Julius Echter (by order of the Martin von Wagner Museum in the Würzburg Residenz).

 

​​​Following London Charter (2006)

Margareta Turkalj Podmanicki & Dina Stober (University of J.J. Strossmayer, Osijek), Ivana Kovač (Primary School Tin Ujević, Osijek)

In the last years we can witness a huge increase in the use of Computer-based Visualizations of Cultural Heritage. Digital technology progress provides opportunities for rather fast creation of products with attractive features, encouraging the growing interest of the general public in cultural heritage. However, at the same time some questions occur – is cultural heritage presented in the best manner, based on scientific research? What principles should be applied and how to choose appropriate technical means and methods? What are the appropriate and ethical goals for the interpretation and presentation of cultural heritage sites?

Heritage Presentation is a communication process designed to declare the significance and to enhance understanding of a heritage site and to acquire public support. Internationally accepted London Charter for Computer-based Visualisation of Cultural Heritage (2006) represents an important document for all participants involved in the field of cultural heritage and new technologies. Although conceived more than ten years ago, it seems we need both, more serious and more adequate implementation by those who are dealing with visualization of cultural heritage in an academic, educational, museum or commercial purpose, especially in Croatia, where an expansion of digital presentation of history and cultural heritage occurred. London Charter (2006) brings guidelines and broad principles for the use, in both, research and communication of cultural heritage.

London Charter, originally in English, so far, has several translations to different languages. Authors of this presentation have prepared a Croatian translation of the London Charter in order to introduce its aims and principles to the public.

Session 3

Art Critics and Curators as Concentrators of the 1990s Art Scene in Zagreb

 

Sanja Sekelj (Institute of Art History, Zagreb)

                

​Little existing scholarly research that deals with the art scene in Croatia from the year 1990 onwards often begins by stating that the 1990’s represented a radical lull in the scene’s development. In this scenario only about a dozen of art events are singled out, and this mostly as events that paved the way for the development of the so-called independent art scene after the year 2000. However, were the 1990’s really an “empty” period of time or did they only represent a change in the structural properties of the scene? If so, how to approach the research and subsequent interpretation of these changes?

This research represents an effort to tackle this issue by way of using exploratory network analysis to describe the structure and dynamics of the art scene in Croatia during the 1990’s, its main actors and multiple relations that existed among them. This is approached through art criticism, i.e. through data gathered from Croatian newspapers, magazines and journals dedicated to following current artistic and/or cultural events (e.g. Vijenac, Kontura, Up & Underground, Transfer, Zarez). The goal of this analysis is twofold: firstly, to research the presence and role of the art critic in public discourse (and in relation to writers dealing with current events, music, film, literature) and, secondly, to determine the main institutional and individual actors on the local scene and the relations among them. The visualizations also give insight into connections with a transnational artistic community, that is – the presence of foreign artists, curators, exhibitions and institutions in public discourse in Croatia during the 1990’s.

 

East Art Map Project as a Digital Curatorship Case?

 

André Pitol (University of São Paulo / School of Communications and Arts)

 

As digital methodologies, tools, and skills become increasingly central to work in the humanities, Digital Curatorship (DC) can be consideredas an interdisciplinary term used in different areas of knowledge. In this presentation, we start by rethinking the contemporary art projects and our goal is to approach DC from the field of the artistic culture and art history.

We intend to do so by presenting a small part of the ongoing doctoral research at the Visual Arts Department of the School of Communications and Arts of the University of São Paulo (ECA-USP). In this sense, the doctoral research is about the relations between contemporary art projects and the concept of Digital Curatorship, and here the proposition is to analyze, as a case study, the project East Art Map: Contemporary Art and Eastern Europe, conceived by the art group Irwin between 2000 and 2006.

Therefore, the first part of my presentation will be dedicated to the discussion of definitions of digital curatorial models presented by Christiane Paul (2006), Sarah Cook (2008) and Gabriela Previdello Orth (2013), linking curatorship of new media projects and networked artworks.

The second part will be used to explore the scope of the theoretical discussion through an interpretation of the East Art Map, in order to reflect how the project responds to this approach and its characteristics.

 

Interactive Narratives: Between the Real and the Imaginary

Isabella Trindade (Ryerson University, Toronto)

 

This paper addresses ways new media have been used in spaces of exhibitions, providing innovative and inclusive means for artistic expression bringing it new perspectives to contemporary exhibition practices.

The intersection of architecture, art and the expanding digital field allows a turning point in the conventional standards in spaces of exhibitions. We are no longer someone just contemplating art, we must try it, inter-act with it. Our position is actually between concrete and virtual, physical and imaginary.

To discuss ways that digital screen and new media have defined new parameters outlining a new way of designing and creating spaces, this presentation will be organized in two parts conceptualizing, contextualizing and pointing out the advantages and risks of the format. The focus is understand: 1) How they changed the way to observe the art in an exhibition, and 2) How they pose to the exhibition spaces an essential transformation.

The research objective, is to analyze how new media have transformed the exhibition space over the years and in which way those contemporaries spaces are ‘In-between’ - between the concrete and the virtual, between the physical and the imaginary.

This paper specifically engages with and borrows analytical tools from a number of disciplines including history and theory of architecture, cultural studies, communication and media studies, museum studies, and sociology. The paper, and the presentation itself, explore the role of digital screen and new media in current museum and exhibition spaces through the case studies in an international field of cultural production.

Slovenian Online Art Gallery Gallery SLOART

Katarina Hergouth & Tina Fortič Jakopič (Gallery Sloart, Ljubljana)

                

The proposed topic for the conference is presentation of the biggest Slovenian online art gallery called Gallery SLOART. Apart of having an exhibition space in the city center of Ljubljana the gallery is also strongly present online; strictly speaking that was its starting point.

The platform was founded in 2005 by an expert in digital transformation, digital sales and marketing Damjan Kosec (MSc Faculty of Computer and Information Science, University of Ljubljana) firstly as a side project. Slowly the firm was developing and growing (professional personnel – art historians, sales and marketing) and in 2015 reached the point of the beginning of digital transformation that is still ongoing project (up to a year 2022). Nowadays the website offers online presentation (photos, information, search with filters etc.) and purchase (also online) of wide selection of Slovenian fine art (from 20th century to the contemporary art). Gallery SLOART aims to approach art collectors, art amateurs and also wider public and is striving for transparency, ethic and integrity in the art market.

So far projects, such as - development of the software for the internal business of the gallery, development of software for centralized content management, for authors and galleries, renovation of the gallery website etc. – had already been implemented, others are planned for the next few years: mobile application, new website for selected Slovenian contemporary artists (Gallery Y), developing an online auction platform to support physical auction and online auction participation and introduction of artificial intelligence into marketing, sales and business processes.

Session 4

The End of the Textbook? Art History Foundation Courses and Digital Art History

Amy Johnson & Allen Reichert (Otterbein University, Westerville, Ohio)

The expansion of digital art history resources has not only led to new directions in research and scholarly projects, it has also meant new possibilities for teaching a more inclusive and global history of art.  Online, open-access sources like Khan Academy have made print textbooks almost obsolete, while museums and universities have used digital capabilities to make their collections and research more available to wider audiences.  This paper considers the contributions made by these resources to teaching Art History foundation courses, and in particular examines the potential ramifications for the discipline overall.  Given the ability of digital resources to broaden accessibility to more works of art, for example, does this mean a broadening of the art historical canon taught in foundation courses, or are we only recreating old paradigms in new formats?  What are the possibilities and challenges of a greatly expanded art historical canon, particularly regarding topics of race, gender, and ethnicities?  Incorporating digital art history into traditional foundation courses enables students to make connections across multiple disciplines, allowing greater integration across courses in different fields.  Introducing digital Art History into entry-level courses also requires addressing potential barriers for students in accessing digital materials, and teaching them how to evaluate online sources.  This paper considers the impact of digital technologies on teaching foundation art history courses, with emphasis on student accessibility and learning outcomes in a global environment.  

Aesthetic Pedagogy as a New Epistemological Process of Art History: Virtual Reality and 3D Modelling for Teaching Contemporary Light Art (Light Installations and Environments)

Leticia Crespillo Marí (Department of Art History, University of Málaga)

In contrast to digital catalogues, the virtual catalogue can solve the problem of receiving interventions that require the presence of the subject in the space to achieve total comprehension. Models that bring us closer to the concrete or specific context where visuality ceases to be pure and is enveloped by the dialogic effect of the sensation itself. The aesthetic experience of virtual environments is quite attractive and allows much more democratic access to certain content. We are not talking about a virtual exhibition or a virtual museum (web), but an alternative tool for cataloging certain works of art that require more than data or descriptions to understand their content. This type of interactive tool helps, as José Santacana Mestre says, "to orient and establish decoders of concepts and objects that are displayed in the museum or presentation space, so that recipients have the ability to control messages", as that I add, from any place and at any time The three-dimensional and immersive models offer us to open a door to the future, since Virtual Reality is able to develop multiple scenographic formulas related to interaction and immersion that will allow the exploration of our own internal worlds from art. This abstract is part of the research results of the Spanish National Project ARTCATALOG, Catálogos artísticos: Gnoseologías, epistemologías y redes de conocimiento. Análisis crítico y computacional HAR2014-51915. Also, It has been possible thanks to the help of the University of Málaga (Ayuda Predoctoral del Plan propio de Investigación de la UMA).

Timelines as Tools for Teaching Art History

Voica Puşcaşiu (Babeş-Bolyai University, Cluj-Napoca)

The prototype of this paper began years ago when Digital Art History was not yet common, so it lay abandoned until its time arrived as this field brought fresh insight into a much-loved, but half-forgotten project on the importance of data visualization in teaching Art History.

The utility of timeline charts in envisioning a historical period with many protagonists is substantial. This is demonstrated by the fact that these charts grace the pages of many studies. However, along with the digital turn, charts can be so much more than a static image. Interactive timelines with a clever design can also convey a great deal more information at a glance (or a scroll). This is the direction in which the study strives to continue, searching for newer, better-suited tools.

Several timelines were developed, spanning across styles and centuries, marking a large number of canonical artists along with their most influential works. In addition to that, a case study was developed for the years 1750-1920, meant to showcase a broader, interdisciplinary approach. This period was chosen at random, but it has the distinct advantage of covering a variety of political and artistic issues. Separate “layers” were created for each field: one for historical events and personalities, containing 26 events and 7 major historical figures. The second one is dedicated to the life spans of 32 artists. The third such “layer” is comprised of 28 authors and their literary masterpieces, while the final one is a view of the period’s 17 greatest composers.

 

DAY 2: Session 1

 

Problematic Panoplies: Belgian Colonial Narratives in Material and Digital Form

 

Hannah Kiefer (Virginia Commonwealth University, Richmond)

What do a nineteenth-century ethnographic exhibit and a twenty-first-century museum website tool have in common? More than one might expect. This paper links display practices from two different moments: the colonial impulse to gather and display African items as a means of control at the 1897 International Exposition in Brussels, and a digital curation tool on the Royal Museum for Central Africa’s (RMCA) website. The RMCA, whose core collection comes from this 1897 exposition and is made up of items taken under colonial violence, has recently undergone a renovation and expansion with the aim of impartially revisiting its past. As scholars like Mary Bouquet have observed, the museum website is an integral part of an institution’s presence in today’s world; the RMCA’s website, also newly renovated, calls for critical scrutiny. This paper examines a website feature that allows visitors to curate collections of images from the RMCA collection, arranging them in visual panoplies to an effect not unlike that of the 1897 Brussels exposition. This online tool, while stemming from an admirable impulse to share curatorial control through digital art history, falls short by juxtaposing items that tell of fraught histories with no criticality or contextualizing information. Analyses of visual configurations of this tool, along with comparative examinations of the 1897 displays, offer evidence for this argument, as well as an example of how collections that represent painful histories call for especially thoughtful design of digital, public-facing tools.

 

Digital Media and Art History: A Critical Assessment of Digital Tools and Trends at a National and International Level

Alexandros Teneketzis, Markos Konstantakis & George Caridakis (Aegan University)

During the past years, cultural interactive experiences are produced in an increased pace to bring back the long lost fiction due to the advent of modern art in the 19th century, as well as the functional and ritual nature of the art objects. One of the main purposes of this interest has been to augment user’s participation during his interaction with cultural objects by making him actor of his own cultural experience. To date, there are various technologies available in cultural environments to support cultural exhibitions directly or indirectly (augmented reality, digital storytelling, serious games, linked open data, context awareness), and every technology used makes an impact on the exhibition or the visitors. It is important for cultural spaces to explore whether technological enhancements can help them attract more visitors and provide different ways of learning or interaction between visitors and exhibits or among them.

How do the new media influence and shape this new –for Greece at least- research area? Do they truly form a catalyst for change to the essence of Art History as a science? Do they transform its structure on an epistemological level, in such a way that we should now speak of a new field, with a totally different subject and objectives, with its own theoretical and methodological tools? In this context we shall discuss the digital status on historical research as far as the visual arts are concerned, pointing out the challenges, the possibilities as well as the disadvantages.

 

#Occupy Estelita: The Role Played by Online Social Network

 

Isabella Trindade (Ryerson University, Toronto)

Maria de Lorurdes Nóbrega (Universidade Católica de Pernambuco)

              

The purpose of this paper is to present and analyze one of the many faces of the public protests in Brazil – the #OcupeEstelita, an urban occupation movement in the city of Recife, and how the Online social networks have played a key role in this movement.

Rather than being a march in the street, the main characteristic of the #OcupeEstelita is of getting feet on the ground by promoting classes, as well as cultural activities at the long-abandoned site to draw attention to the rich potential for a public space. It is an educational protest, one of its goals being to educate people through lectures, classes and workshops about the historical importance of the area and its heritage buildings, and about the environmental qualities of the place. It seeks to involve citizens in deciding the future of the land they live on and to think critically about the cultural, social, and political aspects of the city.

Online social networks have played a key role for the success of the movement, and is redefining how we could use this tool to attract people. We aim to answer the following questions: how exactly is social media weaving its way through the History of Architecture and Urbanism, Cultural Heritage, Social and Cultural History? Which methods and practices were used to help spread the movement? What makes #occupyestelita so different from all the other protests in Brazil and around the world?

 

​​​Yugoslav Literature? - Digital Humanities and National Literary Histories

Lujo Parežanin (Faculty of Humanities and Social Sciences, Zagreb)

Although digitally based research is rapidly spreading in the field of literary studies in the Euro-American academia, becoming along the way a rare part of the Humanities where funds are actually increasing, the study of literature in Croatia and the region has been completely immune to the influx of digital methods. If we want to resist te logic of an opportunist, uncritical import of digital tools into the methodological repertoire of our discipline, we have to approach them by asking ourselves what are the specific needs of our research that they can respond to, what are the blind spots they help us to enlighten by broadening the reach of traditional methods of literary theory and history.

Due to the particular importance of literature for the construction of national identity and tradition in the ex-Yugoslav countries, literary histories - most of all Croatian and Serbian - are a field wholly shaped  by the mononational/nationalist model. Thus it could be said that our literary histories are essentialy blind to the primary objects of their interest, for they ignore the bizzarely obvious fact that national literary yards have throughout the 20th century been framed by the supranational - Yugoslav - context.

Unlike traditional literary history, limited by its narrative frame, digital methods seem especially suited to the representation of this “plurality of contexts”, as Svetozar Petrović named it. By showing on several examples how network visualisations of the structure of the literary field can enable us to grasp its multiple layers and determinants, in this paper I will atempt point to the specific importance digital methods have for some of the key discussions in Croatian literary history, especially in relation to the methodological justification of the category of Yugoslav literature.

Session 2

Rez@Kultur – An Interdisciplinary Research Project: Reflection on Art in Digital Space

 

Claudia Rosskopf (Institute for Cultural Policy, Stiftung Universität Hildesheim)

 

Kristin Kutzner (Institute for Business Administration and Business Information Systems, Stiftung Universität Hildesheim)

 

We aim at analyzing communication about art and relevant networks on online platforms. This work is part of the ongoing project Rez@Kultur, an interdisciplinary research project on reviews of cultural artefacts like works of art, exhibitions, art museums as well as books on online platforms of different sorts e.g. posts on Facebook and Instagram, reviews on Google and TripAdvisor, blogs of art critics and contributions to art magazines. The research project started in the end of 2017 as part of the research focus Digitization in Cultural Education, funded by the Federal Ministry of Education and Research (BMBF). The involved disciplines are domiciled at the departments of Cultural Policy, Literature, Information Science and Language Technologies as well as Economics and Information Systems. The contribution will focus on the network analysis, taking into consideration online platforms for communication about art. The research interest is dedicated to the users’ practices, ways and contents of communication. This is connected to the superordinate research question on the opportunities arising from digitization for players of arts education, art museums respectively. How is the „polyphony of individual receptive experiences“1 taken into account by digital strategies of art museums? How do they present their art and art-historical knowledge? How do taxonomies and folksonomies develop in digital space? It will also reflect on the interdisciplinary research process, eg caveats that might be of interest to a wider DAH community.

 

1 Männig, Maria: (W)ENDE DER KRITIK? ZU CHANCEN UND RISIKEN VON SOCIAL MEDIA. In: Ellen Wagner, Hochschule für Gestaltung Offenbach am Main, und Frankfurter Kunstverein, Hrsg. Newsflash Kunstkritik?: Wie die digitale Vernetzung und Verbreitung von Kunst neue Herausforderungen an die Kritik stellt, 2016. 47-59. 57. Translated by CR.

 

The Materiality of Digitized Art: Reaches and Limits

 

Helen B. K. Marodin (University of South Carolina)

 

I propose to examine the process that creates Digitized Art and survey its challenges, advantages and disadvantages. Using the Digital Piranesi project (http://scalar.usc.edu/works/piranesidigitalproject/index) and my personal experience as a user as a study case, I will survey aspects of the process of digitization of the works of Giovanni Battista Piranesi, physically available in the Irvin Department of Rare Books and Special Collections at the University of South Carolina, and the choices for the digital project. I also propose a comparison between the physical and the digital imagery.

 

The relevance of Digital Piranesi project is magnified by the immersive nature of Piranesi’s work, that is “said to predict many elements of the digital design.”1 The artist’s complex web of referentiality, detailed alphabetic keys and indexed maps, makes “links” between pages of different publications. Scholars had drawn analogies between Piranesi’s cross-references to the tabs and pop-ups of our contemporary websites and digital softwares. These unique characteristics of Piranesi’s oeuvre makes a digital project not only justifiable but almost necessary, amplifying the possible understanding of his work and allowing beholders to instantaneously make the connections between different maps and texts as they were conceived by the artist. The goal of the project went beyond just simply presenting Piranesi’s work in a digital format, but, especially, to allow users to produce knowledge through the increased accessibility and visibility that the digital format offers.

 

1 Jeanne Britton, “The Digital Piranesi Project Narrative,” Grant Proposal (Columbia, South Carolina: University of South Carolina, submitted in 2018), 2.

 

Random Arrangements and Unexpected Combinations. Exploring the Web Platform of the Archive of the Artist Ivar Arosenius

Karin Wagner (University of Gothenburg)

 

Drawing on the Arosenius archive and its web platform, this paper will address the following questions: How does the organisation of images influence what kind of art historical questions can be asked? Will access to a whole lifework make it possible to challenge the canon? I will discuss some of the features for display and comparison used by this platform and by web projects such as Europeana, Google Art and Culture and some museum websites. These features include random display, recommendations and machine learning of visual similarities. One theoretical point of departure will be art historian Aby Warburg’s Mnemosyne Atlas, a pioneering approach to mapping out history through the arrangement of images from a broad range of contexts. Another theoretical reference will be art theorist André Malraux’s conceptualisation of the imaginary museum.

 

 

Distant Viewing Iconographies

 

Peter Bell (University of Erlangen-Nuremberg)

Fabian Offert (University of California, Santa Barbara)

 

Analyzing the iconography of a work of art is one of the most basic and at the same time one of the most crucial tasks for the art historian. Tracing iconographies through different styles, techniques and centuries allows for the identification of historical continuities and discontinuities, and thus facilitates the creation and validation of art historical narratives. For very large image corpora, however, this becomes an impossible task to accomplish manually. Hence, in this paper, we explore the viability of automating iconographic approaches with the help of computer vision and machine learning, and unlock the iconographic approach for very large image datasets. We see the thousands of representations of an iconography as different stagings of a plot and are interested in finding unique motives, continuities and changes.

 

In a first step, we detect main figures in the image and compare their poses to find similar gestures, formulas and compositions. In a second step, we develop a method to “subtract” stylistic variations from image corpora and thus facilitate the iconographic analysis. We achieve this by training an image classifier to distinguish between two iconographically different but stylistically similar image datasets and using the resulting classifier as a feature extractor. The data produced by this feature extractor is then used as the basis for a dimensionality reduction algorithm, which plots the image corpus under investigation, revealing its iconographic features.

Finally, we evaluate the approaches on different iconographic corpora: the annunciation, the baptism and the adoration of the magi, assessing their potential as a general art historical tool for distant viewing very large image datasets.

 

Session 3

 

Examining the Coexistence of the Analog Artwork and Its Digital Replica in the Context of a Digitalized Art World

Sarah Fassio (Europa-Universität Viadrina, Frankfurt, Oder)

 

The emergence of digitalization in the art market made transitions between analog and digital art world increasingly fluid. Traditional auction houses like Sotheby’s or Christie’s host online auctions with million-dollar revenues; online-only art galleries such as Saatchi Art representing over 70,000 artists are emerging; art collectors worldwide may purchase works directly via the Instagram Shop Now Button on artists’ social media accounts.

This inexorable social change towards a digitalized (art) world requires a digital availability of analog artworks. Previously, analog artworks were displayed in art galleries after their creation. Digitalization, however, demands their presence on websites or social media platforms.

Consequently, the creation of digital replicas has become almost inevitable and is particularly relevant for two-dimensional artworks, e.g. (analog) photographs, prints, drawings and paintings. For their digitization these works are detached from their original context (size, framing, etc.) and often manipulated with image-editing programs. The result of digitization and post-manipulation may be understood as a process of digitally cloning analog art, raising questions not only concerning copyright issues and illegal reproduction but also regarding originality and identity of the artworks themselves. While analog pieces can always be considered as original sources, it is the digital clones that will eventually be displayed to an audience consisting of millions of internet users.

This paper focuses on the transformation from analog into digital artworks and how art historians can evaluate this phenomenon.

 

Interactivity in Archival Practice: Video Games as Digital Preservation Tools

 

Diana K. Murphy (Fine Arts Museum of San Francisco)

 

In Archive Fever: Uses of the Document in Contemporary Art (2008), Okwui Enwezor argues, “because the camera is literally an archiving machine, every photograph, every film is a priori an archival object.” This notion seems more palpable in the post-digital world, as identities crafted and promulgated via social media are more “real” that the physical bodies represented. These personal yet public archives of individual lives are not new (beginning in 1987, artist Karl Baden takes a daily photograph of himself to document his aging process). Yet traditional archival strategies such as collecting, cataloguing, conserving, storing, researching, and analyzing have been primarily performed on analog photographic objects which are digitized for quicker digestion. After the digital turn, however, new archiving tools beyond the camera are being imagined. Photographic evidence is a static medium; could the interactive medium of video games potentially disrupt traditional archival methodologies? In order to fully understand the scope of possibilities in contemporary archiving, we must first consider the limitations of traditional archives and expand our notion of what constitutes an archival process.

Reflecting on interviews by game developers and digital archivists, this paper suggests ways video games can be used as an alternative archival tool, allowing for renewed user interaction with and experience of the original object in a new way. How can video games as a discursive and interactive archive suggest opportunities to decolonize archiving as a practice? This paper fits into the greater discourse of object-oriented ontology and archiving contemporary performances and museum interventions.

 

Digital Management of Explanations

Robert C. Kahlert (DTAI, KU Leuven)

 

Bettina Berendt (DTAI, KU Leuven)

 

Benjamin P. Rode (Cycorp)

 

At the root of the interpretative effort in the Humanities and the Social Sciences lie explanations, which in turn depend on arguments. In this contribution, we propose that digital management in Art History must be extended from the curation of the artefacts to the explanations and supporting arguments themselves, using formal languages, common-sense ontologies and automated argument maintenance.

We illustrate our proposal with a four-layered argument, a formalization of Reinhart Koselleck’s interpretation (Carl Schmitt Festschrift, 1968) of Friedrich Schlegel’s analysis (Paris Letter IV, Summer 1804) of Albrecht Altdorfer’s Alexanderschlacht (Battle of Alexander at Issus, 1529), based on Altdorfer’s reading of Quintus Curtius Rufus’ Historiarum Alexandri Magni Macedonis Libri . 

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Session 4

Research Data Infrastructure for Digital Art History

Draženko Celjak (University Zagreb, University Computing Center)

Sharing research data is not only allowing the reproducibility of research results and the re-use of existing data for new research questions but also makes involved researchers more visible, increases the opportunities for collaboration and boost innovation capacity of the entire society. This presentation will give an overview of three initiatives that will hopefully facilitate and promote research data sharing in Croatia: DABAR infrastructure, RDA initiative and NI4OS-Europe project.

The Digital Academic Archives and Repositories (DABAR) is a national repository infrastructure that provides research and higher education entities in Croatia with the common infrastructure necessary to establish and maintain secure, reliable and interoperable institutional and disciplinary repositories. Each repository in DABAR has built-in support for storing and sharing institution’s scientific and educational digital outputs including research data.

The Research Data Alliance (RDA) is a global initiative that develops social and technical conditions for data sharing, data re-using and data-driven innovation. The RDA was jointly founded in 2013 by the European Commission, the USA National Science Foundation, the USA National Institute for Standards and Technology and the Australian Ministry of Innovation. The European branch of the RDA (RDA Europe) seeks to play central role in the EU’s open science strategy, relying on a network of national RDA nodes. SRCE became a Croatian national RDA node in September 2019.

The National Initiatives for Open Science in Europe (NI4OS-Europe) is an H2020 project that started on 1st September 2019 with the objective to support the coordination, convergence and federation of national and / or thematic open science initiatives by developing common tools and mechanisms of the relevance to European Open Science Cloud (EOSC). It is part of an effort to establish the EOSC, in which SRCE participates as one of 22 consortium partners.

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ICARUS Croatia: bridging international practice and the national environment

Vlatka Lemić (Zagreb University Archives)

ICARUS HRVATSKA is a non-profit association dedicated to the research of historical sources, the promotion of the accessibility to archival sources through new IT technologies and the development of interinstitutional and international cooperation in the field of cultural, scientific and professional activities. ICARUS HRVATSKA work – public programs, digital platforms, expert meetings etc. – is focused on the collaboration, networking and open access to historical sources to all, and the presentation is dedicated to presenting international archival and heritage projects and initiatives that enable connecting Croatian institutions and experts with international trends and examples of good practice.

 

DARIAH-HR Platform for Digital Humanities from the Local Perspective

Korljka Kuzman Šlogar (DARIAH-HR, Zagreb)

The Digital Research Infrastructure for the Arts and Humanities (DARIAH) was included in the first Roadmap of the European Strategy Forum on Research Infrastructures (ESFRI) in 2006, and since 2014 has been established as a European Research Infrastructure Consortium (ERIC). Croatia has been participating in DARIAH since early preparatory phase by following and fostering its vision to enable excellent research in the arts and humanities, focusing not only on the local, but also regional and European perspective.

On the local level, main focus of the DARIAH-HR activities since 2014 has been development of a cooperation between the scientific, GLAM and the IT sector, as well as the establishment of cooperation between the Ministry of Science and Education and the Ministry of Culture on the planning and financing of national infrastructure for digital humanities. As a center of a DARIAH Western Balkan Hub, DARIAH-HR is also fostering cooperation in regional frameworks through different projects and organization of events.

Finnaly on the European level, DARIAH-HR efforts are focused on initiating the establishment of new working groups covering areas that are not sufficiently represented in DARIAH, such are WG on Ethics and Legality, WG Theatralia and (likely) WG Digital Art History, Design and Technology through which we could plan more ambitious pan-Euoropean projects.

Tomáš Kolich (PhD candidate at the Institute of Art History, Faculty of Arts, Charles University, Prague). The areas of his research include the art of 19th century, iconography of popular culture, film, architecture, and images in natural sciences. He is interested in the relationship of text and image, and in the ability of pictures to produce new knowledge. Kolich has written about topics such as depiction of Sherlock Holmes in the Czech visual culture, architecture in the Gothic horror genre (with an emphasis on haunted castles in movies) or detective noticeboards in TV series.

Andrej Srakar (PhD, Economics; PhD Candidate, Statistics; University of Ljubljana. Scientific Associate, Institute for Economic Research; Assistant Professor, Faculty of Economics, University of Ljubljana) Editor of Cultural Economics and the Creative Economy Book Series, Palgrave Macmillan. Fulbright Scholar (Indiana University Bloomington, USA 2011/12). Author of research reports for European Commission, European Parliament and UNESCO. Published in Journal of Cultural Economics, Cultural Trends, Journal of Cultural Heritage, Poetics, IJAM, Journal of Knowledge Management, European Planning Studies and Géographie et cultures. Member of Scientific Programme Committee, 20th International Conference on Cultural Economics (ACEI), 2018.

Petja Grafenauer (PhD, Assistant Professor, Department for Theory, Academy of Fine Arts and Design, University of Ljubljana) Specialist in the local and regional art after World War II, primarily painting. Since 2012 researching possible cross-sections of economy and art. In 2016–2017 Head, Department for Photography, Higher School of Applied Sciences (VIST), Ljubljana, co-Editor of Slovenian visual-arts magazine Likovne besede / Art Words (2009-2015); lectured on contemporary art at the Arts Academy of the University of Nova Gorica, curator at Ganes Pratt Gallery; curator at Vodnik Homestead Gallery

Nataša Ivanović (PhD, Assistant, History of Art, Academy of Fine Art, University of Ljubljana; Head of Research Centre, Lah Contemporary. Assistant Researcher, France Stele Institute of Art History, SASA Scientific Research Centre, Ljubljana (2008-2013). In 2013, co-founded  of RI19+, where she continues her research, cooperates with art collectors, and curates exhibitions. During doctoral studies, she had fellowships at the University of Vienna and INHA in Paris; invited lecturer at Vienna, Leopold Museum (2018) and Paris, Centre Georges Pompidou (2017).

Tamara Bjažić Klarin is a Senior Research Associate at the Institute of Art History in Zagreb. She has been trained as an architect and received her PhD from the Faculty of Humanities and Social Sciences in Zagreb. Her scientific work is focused on the 20th century architecture and urban planning, particularly on the processes of modernization, exchange of new concepts and architects’ public engagement. She is the author of the book Ernest Weissmann: Društveno odgovorna arhitektura, 1926. – 1939. / Socially Responsible Architecture, 1926 – 1939 (2014), and co-editor of the collected essays French Artistic Culture, and Central-East European Modern Art (2017), who also published a number of book chapters and articles in local and international scientific journals. In 2006 she obtained the French Government Fellowship, and in 2014 the SNSF Fellowship. She was an academic quest at gta ETH in Zürich. A member of the curatorial board of MOMA’s exhibition Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 (2018), Tamara is also the vice-president of the Association of Croatian Architects, and permanent associate of the Croatian National Television Culture program.

Tea Truta is an architect who graduated from the Zagreb Faculty of Architecture in 2019. She was a research assistant at the ARTNET project, conducted at the Institute of Art History in Zagreb and is an associate of Tamara Bjažić Klarin on the book about architectural competitions in the interwar period in Zagreb, developing a digital methodology in investigating competitions.

Franziska Klemstein studied Art History and History in Berlin and Amsterdam. From 2014 to 2015, she worked as a freelancer in the fields of digital art history and preservation of culture heritage. In 2015 she worked as a Research Assistant at the Chair of Architectural History and Urban History at the TU Kaiserslautern. From 2016 to 2018, she had a scholarship of the Friedrich-Naumann Foundation for Freedom. Since 2019 she is a Scientific Associate for Digital Humanities at the Bauhaus-University Weimar, and is currently writing her PhD about the diversity of conservation practice in the GDR under the use of the graph database “neo4j” and Wikidata.

Dominik Lengyel, born 1972, studied Architecture at the Universities of Stuttgart, Paris-Tolbiac and ETH Zürich. After working as architect at Prof. O. M. Ungers, he founded an office for architectural visualisation with Catherine Toulouse. In 2002, he began teaching as substitute and full professor at the University of Applied Sciences in Cologne. Since 2006, he holds the Chair for Architecture and Visualisation as full professor at the BTU University in Cottbus. His major research area is the visualisation of archaeological hypotheses. He was member of the research program Exzellence Cluster TOPOI. Since 2018, he is member of the European Academy of Sciences and Arts in Salzburg.

 

Catherine Toulouse, born 1973, studied Architecture at the Universities of Stuttgart, Paris-Tolbiac and ETH Zürich. After working as architect at Prof. O. M. Ungers, she founded an office for architectural visualisation with Dominik Lengyel. From 2006 to 2018, she worked as assistant professor at the BTU University in Cottbus. Her major research area is the visualization of archaeological hypotheses. She was member of the research program Exzellence Cluster TOPOI. Currently she works on a three year research program granted by the Gerda Henkel Foundation.

Margareta Turkalj Podmanicki is an art historian employed as an Assistant Professor at the Department of Visual and Media Arts, Academy of Arts and Culture at University of J. J. Strossmayer in Osijek. She focused her scientific and professional interest on art and architecture from the 15th to the late 18th century, the cultural heritage of eastern Croatia and its valuation in the Croatian and Central European context and the application of contemporary digital methods in the research and presentation of cultural heritage.

Dina Stober has studied architecture and urban planning at the Faculty of Architecture, University of Zagreb, Croatia. She was awarded a PhD in spatial and urban planning (2013) from the University of Ljubljana, Slovenia. She is an Assistant Professor at the Faculty of Civil Engineering and Architecture Osijek, Josip Juraj Strossmayer Universityof Osijek where she teaches courses in urban planning, design of industrial buildings and integral design in architecture and civil engineering. Her interest is in digital heritage and integral design (HBIM).

​Ivana Kovač has studied English and German Language and Literature at the Faculty of Humanities and Social Sciences, University of Osijek. She works as a teacher at the Primary School Tin Ujević Osijek mentoring the students from the Faculty of Humanities and Social Sciences, University of Osijek. She is the author and the project leader of the project Spelling Bee from 2012, coordinator of the international project Peace on the Move 2014/2015, coordinator of the e-Twinning project International Photo Dictionary of idiomatic Expressions 2016, and coordinator of the Erasmus+ project team Castles on the Danube-our linking heritage and now she is a team member of the Erasmus+ project DECH –  2018-2020.

Sanja Sekelj is PhD candidate at the Postgraduate program in Humanities at the University of Zadar, and Research Assistant at the Institute of Art History in Zagreb. She is researching artist networks, art associations and art groups of the 1990’s and early 2000’s, with an emphasis on new media networks and strategic networking of cultural workers on the independent cultural scene. She was a member of the scientific research project ARTNET (2014–2018). She is a member of the curatorial team of the Gallery Miroslav Kraljević and executive editor of the scientific journal Život umjetnosti.

André Pitol has a Master's Degree in History, Criticism and Theory of Art and a Bachelor in Visual Arts / Printmaking from the School of Communications and Arts at the University of São Paulo. He was assistant researcher in artistic, educational and curatorial projects in Brazil and his own research on the production of Brazilian photographer Alair Gomes have discussed in seminars and appeared in academic publications. He currently is doing a doctorate on the relations between contemporary art projects and digital curatorship.

Isabella Trindade is a PhD Architect with professional experience in Brazil, France, Spain and Canada. She is a Professor at Ryerson University in Canada. Author of several published articles and numerous presentations at seminars on national and international conferences. Research and teaching focus on architectural history, theory, and criticism. Particularly the mid-century modern architecture and urbanism in the years following World War II, and the social and cultural history of architecture, with an interdisciplinary analysis that emphasizes the cultural influences from Europe and North America in the making of buildings, interiors, and urban spaces.

Katarina Hergouth (1990, Ljubljana) gained her MA in History of Art and BA in Comparative Literature and Literary Theory at University of Ljubljana. During her studies she was participating in various projects in Slovenia (curator at Fotopub festival, guide at Museum of Architecture and Design, co-editor at Slovene cultural platform Koridor, production assistant at Maja Smrekar: K-9_Topology: Hybrid Family etc.) and abroad (gallery Arratia Beer, Berlin; art exhibition space Art Laboratory Berlin). Since 2017 she is working at commercial art gallery Gallery SLOART. Her work and research field is mainly focused on Slovenian (contemporary) art market and gallery managementT.

 

Tina Fortič Jakopič (1989, Ljubljana), gained her BA in History of Art (2012) at University of Ljubljana (Faculty of Arts), currently gaining her MA in History of Art and researching the online art market and art market in Slovenia. In 2012–13 she studied at École pratique des hautes études (EPHE) and Institut National d'Histoire de l'Art (INHA) in Paris. In 2013 she effectuated internship at Musée de l'Orangerie (Paris), following year at online art platform Auction.fr and in 2015 at auction house Artcurial – Briest, Poulain, F. Tajan (Paris). Since 2017 she is working as gallery curator and coordinator for modern art at Slovenian commercial art gallery Gallery SLOART.

Amy Johnson is an Associate Professor of Art History at Otterbein University in Westerville, Ohio, United States.  Johnson teaches all levels of Art History; her research areas include 19th and early 20th century women artists and urban studies.

 

Allen Reichert is a Professor and Electronic Access Librarian at Otterbein University in Westerville, Ohio, United States.  Reichert teaches on the Arts of Japan; his research areas include digital resources and textbook accessibility.

Leticia Crespillo Marí is a PhD Researcher at University of Málaga (Degree in Art History and Tourism). At present I am researching about the aesthetical component of Contemporary Light Art Installations and Environments (from 60s-70s of the 20th Century to the present): Phenomenology of perception, Aesthetic reception, semiotics, neuroaesthetic, subjetivity etc. Currently, I am training in 3D modelling and visualization tools, as well as in Photogrammetry techniques and investigating the possibilities that VR offers to current museography and teaching.

Voica Pușcașiu PhD (b. 1988) has a bachelor’s degree in Art History and a master’s in Philosophy from the “Babeș-Bolyai” University in Cluj-Napoca, which has also awarded her a doctoral degree for the thesis Art in Public Spaces: Commissioned versus Unsanctioned. Continuing her collaboration with the same institution, she now teaches Early-Modern, Modern, and Contemporary Art History. Her research focuses on sociological aspects and cultural biases while eagerly exploring the opportunities of a Digital Humanities-based approach. As a founding member of DigiHUBB, the first DH center in Romania, she is constantly expanding her horizons in digital tools regarding Art History.

Hannah Kiefer has a background in museum education and curriculum development. She holds a degree in art history from the University of North Carolina, Chapel Hill (2014), and is currently pursuing graduate studies in art history at Virginia Commonwealth University, where she is the 2019-2020 Hamad bin Khalifa Research Assistant. Her research centers on central African art: its reception, collection, and commodification in the global north. Currently, she is working on a project on Congolese painter Chéri Samba, examining how his work is alternately temporalized as “popular” or “contemporary” depending on the collection and context.

Alexandros Teneketzis, an art historian, published numerous articles and books on public art, digital history of art, public monuments, public and collective memory, museums history and politics. In last three years he carried out projects in digital humanities, Greek Art, public history, public memory and monuments, and public sculpture. He is currently a postdoc researcher at  the Department of Cultural Technology & Communication, University of the Aegean, and scientific collaborator of numerous Greek Museums and Galleries.

 

George Caridakis is coordinating the Intelligent Interaction research group and serves as a faculty member of the Department of Cultural Technology & Communication, University of the Aegean. Affiliated as a Senior Researcher with the Intelligent Systems, Content and Interaction Laboratory, National Technical University of Athens, he is a member of Association for the Advancement of Affective Computing and board member of Greek ACM SIGCHI. He published in more than 25 journal articles, book chapters, participating in more than 40 conferences.

Markos Konstantakis is a PhD candidate at the Department of Cultural Technology and Communication at Aegean University, in the field of Augmented Reality. From 2013 he is implementing a “Supplementary Program Distance Learning e-learning” at University of Athens. also working on the implementation of Act “ELKE – Special Accounts for Research Founds” at Panteion University. His research includes VR & AR technologies, Ubiquitous Computing, Digital Culture, Cultural Heritage, Human-Computer Interaction, Internet of Things, Serious Games.

Isabella Trindade is a PhD Architect with professional experience in Brazil, France, Spain and Canada. She is a Professor at Ryerson University in Canada. She authored several published articles and numerous presentations at seminars on national and international conferences. Her research and teaching focus on architectural history, theory, and criticism, particularly on the mid-century modern architecture and urbanism in the years following the Second World War, as well as on the social and cultural history of architecture, with an interdisciplinary analysis that emphasizes the cultural influences from Europe and North America in the making of buildings, interiors, and urban spaces.

Maria de Lourdes Nóbrega is an architect and urban planner with a Master Thesis in Urban Development from the Federal University of Pernambuco – UFPE (2002), and PhD in Urban Development, Federal University of Pernambuco (2008). She is a Professor of Architecture and Urbanism at the Catholic University of Pernambuco, and a researcher at the Laboratory of Cultural Landscapes (UNICAP). Her works and research encompass the areas of architecture, landscape planning, cinema and urbanism, with an emphasis on urban cultural landscape and historical built heritage. Apart from publishing articles and numerous presentations at seminars on national and international conferences, she is also professionally involved in the elaboration of urban projects.

Lujo Parežanin (1987) works as an editor/journalist of kulturpunkt.hr, an online publication devoted to culture and contemporary art. He holds a Master’s degree in Comparative literature and is currently writing his dissertation at the Faculty of Humanities and Social Sciences in Zagreb. He is the author of two scientific papers on neo-avant-garde poetry. He collaborated with the Croatian National Television and worked in music publishing and in the Ministry of Culture. He plays music regularly and collaborates with the informal contemporary dance collective Šavovi as a composer/sound designer.

Claudia Roßkopf studied Cultural Anthropology and Linguistics in Mainz and Vienna. She has worked at different museums, such as GRIMM WORLD Kassel (2013-2017), where she was in charge of the exhibition and the education program. As the academic associate at the Department of Cultural Policy, University of Hildesheim, she conducts research on art museums in digital space, and participates in the interdisciplinary research project Rez@Kultur, funded by the Federal Ministry of Education and Research (BMBF) and dedicated to digitization in arts education. She is the coordinator of the Network of Arts Education Research (www.forschung-kulturelle-bildung.de).

 

Kristin Kutzner (M. Sc.) is a research assistant at the Institute for Business Administration and Information Systems at the University of Hildesheim. She is part of the interdisciplinary research project Rez@Kultur which analyses, among other things, reviews of cultural artefacts, namely artistic artefacts and books. Applying different computer-aided methods, for instance, Kristin Kutzner analyses such reviews and identifies common or seldom discussed features. Besides, she conducts research in the areas of enterprise modelling, digital transformation of cultural artefacts and review systems.

Helen B. K. Marodin is a PhD student in History in University of South Carolina, with major in Latin American History, pursuing a Master’s in Public History en route to the PhD. For her dissertation, she is interested in the material culture of domestic female slaves and their mistresses in 19th century Brazil. She finished her Master’s in Art History in the same institution in July 2018. For the Masters’ thesis, “Unlocking Piranesi’s Imaginary Prisons,” she analyzed the sixteen etchings of Giovanni Battista Piranesi available in the university’s library. Her BA, completed in Brazil in 2004, was done in the field Architecture and Urbanism.

Karin Wagner is a professor in Art History and Visual Studies at the Department of Cultural Sciences at the University of Gothenburg, Sweden. Her research interests include photography, new media, and visual communication. She has been working in the project “Conjuring up the artist from the archives: The Case of Ivar Arosenius” during 2016-19.

Peter Bell studied art history at Marburg University and was a research associate in the Research Center SFB 600 (Strangers & Poor People) at Trier University, where he wrote his PhD thesis on the visual representation of Greeks in the Italian Renaissance. As a postdoc he worked on several digital art history projects at Heidelberg University and Cologne University and was group leader at the Heidelberg Academy of Sciences and Humanities. Presently, he is Assistant Professor in Digital Humanities at the University of Erlangen-Nürnberg (FAU). Areas of specialization are digital art history and computer vision as well as representations of strangers in art.

 

Fabian Offert's research focuses on interpretable machine learning, digital art history, and their intersection. Currently, he is a doctoral candidate in the Media Arts and Technology program at the University of California, Santa Barbara. He is a fellow of the Regents of the University of California and was a visiting scholar at the University of California, Berkeley. His work is frequently featured in both critical and technical contexts, among others at NIPS, ECCV, SIGGRAPH, Deutsches Museum, and Harvard University. Before coming to California, Fabian served as Assistant Curator at ZKM Karlsruhe where he was responsible for several large-scale media art exhibitions.

Sarah Fassio (M.A.) is a research associate at the Chair of Cultural Management at the Europa-Universität Viadrina Frankfurt (Oder) with several years of professional experience in Berlin’s art and gallery scene. She studied Art History at the Freie Universität Berlin and holds a French-German double master’s degree in Arts and Cultural Management. Her academic research focuses on interdependences between a digitalized art market and the impact on the status of the artwork. A key research topic is the transformation of artworks from analog to digital state in order to display them in (online) art galleries.

Diana Murphy is Digital Production Coordinator for Digital Strategy at the Fine Arts Museums of San Francisco. She holds an MA in Museum Studies from Marist College / Istituto Lorenzo de’Medici and a BA in the History of Art and Visual Culture from the University of California, Santa Cruz. She has presented her research at universities and museums in the US and abroad. Her research interests include theories surrounding post-Fordist curating, feminist and queer theory, performance, video, digital humanities, and post-war Italian art, and architecture. Most recently, she presented a paper at the Midwest Art History Society’s 46th Annual Conference in Cincinnati.

Robert C Kahlert studied computer science, history and Protestant theology (PhD 2015, University of Vienna). From 1998 to 2013, he was a full-time member of the CYC project at Cycorp Inc, in Austin, Texas, a large-scale effort in developing symbolic artificial intelligence through an extensive common-sense ontology and a reasoning system using predicate logic. Since 2018, he studies with Bettina Berendt at Leuven toward a PhD in Computer Science, with an emphasis on applying symbolic Artificial Intelligence techniques to the argumentation problems of the Digital Humanities.

 

Bettina Berendt is a Computer Science professor in the group for Artificial Intelligence, Machine Learning and Data Mining at the University of Leuven. Her teaching and research interests span digital humanities, data science, text analysis, knowledge representation and the interactions in people’s decision making when using artificial and human intelligence obtained online. In particular, she has focused on how data mining impacts privacy and data protection concerns, how it increases liberty and diversity or amplifies discrimination, and what ethical choices people face when dealing with data and data science.

 

Benjamin Rode is a senior staff ontologist at Cycorp, an Austin-based company dedicated to the creation of a formal representation of human common sense knowledge that can be used for semantically informed data integration and processing. His primary research interests include self-adaptive ontologies, modal reasoning with focus on capabilities and requirements, epistemic reasoning, defeasible/probabilistic reasoning, and knowledge utility assessment. Benjamin acquired his PhD from the UT Philosophy Department in 2000, with Analytic Philosophy and Philosophy of Mind as areas of concentration.

Draženko Celjak, Program / Project Manager and leader of University of Zagreb University Computing Center (SRCE) expert team working on several important services and development projects which are providing Croatian research community with the ICT support: Hrčak (Portal of Scientific Journals of the Republic of Croatia), Ara (Aggregator of Croatian Repositories and Archives), HAW (Croatian Web Archive - in collaboration with Croatian National Library) and the latest Beaver (Digital Academic Archives and Repositories) which is the contribution of SRCE to the culture and good practice of data storage and management, also supporting the initiatives, principles and collaboration in the field of open access to scientific data. In 2015 he was recipient of Tibor Tóth award for his contribution to information and communication sciences.

Vlatka Lemić works at University of Zagreb as Head of Archival Office. She is archival counselor, Professor at Archival Studies Department of Zagreb University, actively engaged in various international projects in the field of Information and Archival sciences, culture and Digital Humanities (Creative Europe, DARIAH, AERI). She is a vice president of ICARUS, president of ICARUS Croatia, member of ICA EURBICA Executive Board, EGSHAH, and Time Machine Ambassador. 

Koraljka Kuzman Šlogar,

National Coordinator for Croatia at DARIAH-ERIC and chair of the Working group on Ethich and Legality in the Digital Art and Humanities. Member of the Strategic Committee for Research Infrastructure, advisory body of the Minister of Science and Education and of the working group at the Ministry of Culture responsible for developing digitization strategy for Croatian archives, libraries and museums (2013-2020). Also a member of the Croatian Ethnological Society (HED), ICARUS Hrvatska and Europeana Network Association.

Graduated in history, ethnology and museology from the Faculty of Humanities and Social Sciences, University of Zagreb, Croatia. Since 2001 employed at the Institute of Ethnology and Folklore Research in Zagreb and, as head of the Archive, works on planning and management of different digitization projects and the creation and development of a digital repository of intangible cultural heritage. Involved in national and European research projects, in making ethnographic documentary films and creation of virtual and museum exhibitions.