| 1. |
- Cardinali, Marco
(författare)
-
Digital Tools and Technical Views : The Intersection of Digital Art History and Technical Art History in a Digital Archive on the Painting Technique of Caravaggio and His Followers
- 2019
-
Ingår i: Visual Resources. - : Informa UK Limited. - 0197-3762 .- 1477-2809. ; 35:1-2, s. 52-73
-
Tidskriftsartikel (refereegranskat)abstract
- Digital art history is currently moving into a new phase. As a result of the ongoing digitization of artifacts and the creation of large digital repositories that bring together literary sources, images, as well as historical and technical data, new perspectives point to data mining and data/image processing. This article reviews some of the main data and image bases that deal with technical and material studies on works of art. The work-in-progress, Technical Data/Image Base on Caravaggio and His Followers, of the Max Planck Institut fur Kunstgeschichte/Bibliotheca Hertziana (Rome, Italy) is presented within a historical and theoretical framework, describing the establishment of technical research in art history and the role played as early as 1930 by the International Conference for the Study of Scientific Methods in the Examination and Conservation of Artworks (Rome). The state of the art of technical research on the Italian painter Michelangelo Merisi, Il Caravaggio (1571-1610) and its critical issues are also sketched out, and the nature of the scientific information provided by digital multispectral imaging is considered within a brief review of the history of technical images.
|
|
| 2. |
- Dawson, Ian, et al.
(författare)
-
Diffracting Digital Images in the Making
- 2021
-
Ingår i: Visual Resources. - : Taylor & Francis. - 0197-3762 .- 1477-2809. ; 37:1, s. 31-43
-
Tidskriftsartikel (refereegranskat)abstract
- This paper presents a diffractive dialogue between ethnographic accounts of imagery, digital or computational imaging, and art and archaeology practices. It develops the notion of images in the making in the context of the digital domain, to discuss what an image is and can be today. It focusses on two digital imaging techniques developed within archaeology and cultural heritage – Reflectance Transformation Imaging (RTI) and Structure from Motion photogrammetry (SfM) – exploring how these techniques play out in heritage and art world contexts and practices. The paper highlights digital images as unstable compositions, and explores how digital images in the making enable us to reconsider the shifting temporal character of the image, and discuss the way in which the digital image forces us to disrupt the representational assumptions bound up in the relationship between the virtual and the actual. The authors argue that the diffractive moments in these encounters between archaeology and art practice disclose the potential of digital imaging to recursively question the complex ontological composition of images and the ability of images to act and affect.
|
|
| 3. |
- Näslund Dahlgren, Anna, et al.
(författare)
-
Cultures of Digitization : A Historiographic Perspective on Digital Art History
- 2020
-
Ingår i: Visual Resources. - : Informa UK Limited. - 0197-3762 .- 1477-2809. ; 36:4, s. 339-359
-
Tidskriftsartikel (refereegranskat)abstract
- Art museums began using computers to help organize, catalogue, and coordinate their collections as early as the 1960s. In more recent times, art historians have consolidated the use of digital tools in the discipline within the emerging field of Digital Art History (DAH). In this historiographic study, we set out to understand DAH through an analysis of existing scholarship in the field. Our method combined both text mining and close reading of three datasets of art history journal articles published in the last decade: DAH (International Journal of Digital Art History, special issues of Visual Resources), Art History, and Art Journal. We studied the topical focus of these journals, looking at which agents, materials, and methods dominate and how they are contextualized. Based on this, we found that the subject matter and topical focus of scholarship in DAH differs significantly from scholarship in Art History or Art Journal. More specifically, the historical concerns of museums with regard to digitization still dominate DAH compared to other scholarship in the field. We argue that there are a number of historical and practical reasons for this, including early adoption of computers within museums, the need for simplicity in digitization projects, and issues of copyright. The persistence of this affiliation, in turn, raises critical questions for the future of the field of art history, including who can access art historical datasets, and how and by whom they are created.
|
|
