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\n  \n Angela, D.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Grenzen und Möglichkeiten der digitalen Kunstgeschichte und der Digital Humanities - eine kritische Betrachtung der Methoden.\n \n \n \n \n\n\n \n Angela, D.\n\n\n \n\n\n\n . 2017.\n \n\n\n\n
\n\n\n\n \n \n \"GrenzenPaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n
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@article{angela_grenzen_2017,\n\ttitle = {Grenzen und {Möglichkeiten} der digitalen {Kunstgeschichte} und der {Digital} {Humanities} - eine kritische {Betrachtung} der {Methoden}},\n\tcopyright = {(CC BY-SA 3.0 DE) Namensnennung - Weitergabe unter gleichen Bedingungen 3.0 Deutschland,},\n\turl = {https://edoc.hu-berlin.de/handle/18452/19402},\n\tdoi = {10.18452/18692},\n\tabstract = {This article looks at Digital Humanities methods applied in Digital Art History. The aim of this article is to give a first introduction to DH methods and to distinguish between the two directions in DAH, one that is influenced by DH methods and the other which is characterized by the creation or application of digital tools.},\n\tlanguage = {de},\n\turldate = {2020-03-12},\n\tauthor = {Angela, Dressen},\n\tcollaborator = {{Humboldt-Universität Zu Berlin} and {Humboldt-Universität Zu Berlin}},\n\tyear = {2017},\n\tkeywords = {700 Künste, Bildende und angewandte Kunst, Digital Art History, Digital Humanities, methods},\n}\n
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\n This article looks at Digital Humanities methods applied in Digital Art History. The aim of this article is to give a first introduction to DH methods and to distinguish between the two directions in DAH, one that is influenced by DH methods and the other which is characterized by the creation or application of digital tools.\n
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\n  \n Bell, P.\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n \n Ikonographie und Interaktion. Computergestützte Analyse von Posen in Bildern der Heilsgeschichte.\n \n \n \n \n\n\n \n Bell, P.; and Impett, L.\n\n\n \n\n\n\n Das Mittelalter, 24(1): 31–53. July 2019.\n Publisher: De Gruyter Section: Das Mittelalter\n\n\n\n
\n\n\n\n \n \n \"IkonographiePaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n  \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@article{bell_ikonographie_2019,\n\ttitle = {Ikonographie und {Interaktion}. {Computergestützte} {Analyse} von {Posen} in {Bildern} der {Heilsgeschichte}},\n\tvolume = {24},\n\tissn = {0949-0345, 2196-6869},\n\turl = {https://www.degruyter.com/view/journals/mial/24/1/article-p31.xml},\n\tdoi = {10.1515/mial-2019-0004},\n\tabstract = {{\\textless}section class="abstract"{\\textgreater}{\\textless}h2 class="abstractTitle text-title my-1" id="d335e2"{\\textgreater}Abstract{\\textless}/h2{\\textgreater}{\\textless}p{\\textgreater}The last few years have seen an explosion of medieval images in digital form, chiefly as a result of photo-library and manuscript digitisation projects. An entire corpus of images, even selected solely by scene or iconography, becomes an unwieldy object of study by traditional art-historical means. This is even more the case for medieval images, where authorship and dating are often cloudy and unclear, and the image itself is in many cases the first resource for scholarly inquiry.We take the digital image – in particular, the digital image of the body – as our object of study in a wide-ranging computationally-augmented reading of an image-corpus; ours is made up of thousands of depictions of the ‘Annunciation’ and ‘Baptism’, selected not only for their primacy in Christian art but for their dialogical interaction. Our corpus of 6,564 ‘Annunciations’ and 883 ‘Baptisms’, whilst not necessarily representative in density, includes a wide range of stylistic, theological and historical tendencies.We computationally extract not only body images but poses, gestures and interactions. Such a range of gestures allows for a morphological treatment of bodily motifs, whose multi-dimensional, quantitative nature allows us to complicate and problematise iconographic taxonomies, populating the spaces between categories. Finally, our gestural manifolds provide a morphological pointer to dissecting the microtemporalities of the scenes, and their relative dynamics and inconsistencies.{\\textless}/p{\\textgreater}{\\textless}/section{\\textgreater}},\n\tlanguage = {de},\n\tnumber = {1},\n\turldate = {2020-07-07},\n\tjournal = {Das Mittelalter},\n\tauthor = {Bell, Peter and Impett, Leonardo},\n\tmonth = jul,\n\tyear = {2019},\n\tnote = {Publisher: De Gruyter\nSection: Das Mittelalter},\n\tpages = {31--53},\n}\n\n
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\n \\textlesssection class=\"abstract\"\\textgreater\\textlessh2 class=\"abstractTitle text-title my-1\" id=\"d335e2\"\\textgreaterAbstract\\textless/h2\\textgreater\\textlessp\\textgreaterThe last few years have seen an explosion of medieval images in digital form, chiefly as a result of photo-library and manuscript digitisation projects. An entire corpus of images, even selected solely by scene or iconography, becomes an unwieldy object of study by traditional art-historical means. This is even more the case for medieval images, where authorship and dating are often cloudy and unclear, and the image itself is in many cases the first resource for scholarly inquiry.We take the digital image – in particular, the digital image of the body – as our object of study in a wide-ranging computationally-augmented reading of an image-corpus; ours is made up of thousands of depictions of the ‘Annunciation’ and ‘Baptism’, selected not only for their primacy in Christian art but for their dialogical interaction. Our corpus of 6,564 ‘Annunciations’ and 883 ‘Baptisms’, whilst not necessarily representative in density, includes a wide range of stylistic, theological and historical tendencies.We computationally extract not only body images but poses, gestures and interactions. Such a range of gestures allows for a morphological treatment of bodily motifs, whose multi-dimensional, quantitative nature allows us to complicate and problematise iconographic taxonomies, populating the spaces between categories. Finally, our gestural manifolds provide a morphological pointer to dissecting the microtemporalities of the scenes, and their relative dynamics and inconsistencies.\\textless/p\\textgreater\\textless/section\\textgreater\n
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\n \n\n \n \n \n \n \n \n Training Argus. Ansätze zum automatischen Sehen in der Kunstgeschichte.\n \n \n \n \n\n\n \n Bell, P.; and Ommer, B.\n\n\n \n\n\n\n Kunstchronik, 68: 414–420. 2015.\n \n\n\n\n
\n\n\n\n \n \n \"TrainingPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@article{bell_training_2015,\n\ttitle = {Training {Argus}. {Ansätze} zum automatischen {Sehen} in der {Kunstgeschichte}},\n\tvolume = {68},\n\tissn = {00235474},\n\turl = {http://www.digizeitschriften.de/dms/img/?PID=PPN522562264_0068%7CLOG_0135},\n\tlanguage = {de},\n\turldate = {2020-03-12},\n\tjournal = {Kunstchronik},\n\tauthor = {Bell, Peter and Ommer, Björn},\n\tyear = {2015},\n\tpages = {414--420},\n}\n\n
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\n  \n Chao, J.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Memespector-GUI: Graphical User Interface Client for Computer Vision APIs.\n \n \n \n \n\n\n \n Chao, J.\n\n\n \n\n\n\n March 2023.\n \n\n\n\n
\n\n\n\n \n \n \"Memespector-GUI:Paper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@misc{chao_memespector-gui_2023,\n\ttitle = {Memespector-{GUI}: {Graphical} {User} {Interface} {Client} for {Computer} {Vision} {APIs}},\n\tcopyright = {MIT},\n\tshorttitle = {Memespector-{GUI}},\n\turl = {https://github.com/jason-chao/memespector-gui},\n\tabstract = {Cross-platform GUI Client for Computer Vision APIs (Google Vision, Microsoft Cognitive Services, Clarifai and Keras' open source models)},\n\turldate = {2023-03-14},\n\tauthor = {Chao, Jason},\n\tmonth = mar,\n\tyear = {2023},\n\tdoi = {10.5281/zenodo.7704877},\n}\n\n
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\n  \n Drucker, J.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Is There a “Digital” Art History?.\n \n \n \n \n\n\n \n Drucker, J.\n\n\n \n\n\n\n Visual Resources, 29(1-2): 5–13. June 2013.\n \n\n\n\n
\n\n\n\n \n \n \"IsPaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@article{drucker_is_2013,\n\ttitle = {Is {There} a “{Digital}” {Art} {History}?},\n\tvolume = {29},\n\tissn = {0197-3762, 1477-2809},\n\turl = {http://www.tandfonline.com/doi/abs/10.1080/01973762.2013.761106},\n\tdoi = {10.1080/01973762.2013.761106},\n\tlanguage = {en},\n\tnumber = {1-2},\n\turldate = {2020-03-12},\n\tjournal = {Visual Resources},\n\tauthor = {Drucker, Johanna},\n\tmonth = jun,\n\tyear = {2013},\n\tpages = {5--13},\n}\n\n
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\n  \n Dörk, M.\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n \n Past Visions and Reconciling Views: Visualizing Time, Texture and Themes in Cultural Collections.\n \n \n \n \n\n\n \n Glinka, K.; Pietsch, C.; and Dörk, M.\n\n\n \n\n\n\n Digital Humanities Quarterly, 11(2). 2017.\n \n\n\n\n
\n\n\n\n \n \n \"PastPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@article{glinka_past_2017,\n\ttitle = {Past {Visions} and {Reconciling} {Views}: {Visualizing} {Time}, {Texture} and {Themes} in {Cultural} {Collections}},\n\tvolume = {11},\n\tissn = {1938-4122},\n\tshorttitle = {Past {Visions} and {Reconciling} {Views}},\n\turl = {http://www.digitalhumanities.org/dhq/vol/11/2/000290/000290.html},\n\tabstract = {We present a case study on visualizing a collection of historic drawings along its metadata structure while also allowing for close examination of the artifacts’ texture. With regards to the specific character of cultural heritage at the intersection of research, education, and public interest, the presented visualization environment aims at meeting the requirements of both researchers as well as a broader public. We present the results from a collaborative interdisciplinary research project that involved a cultural heritage foundation, art historians, designers, and computer scientists. The case study examines the potential of visualization when applied to, and developed for, cultural heritage collections. It specifically explores how techniques aimed at visualizing the quantitative structure of a collection can be coupled with a more qualitative mode that allows for detailed examination of the artifacts and their contexts by displaying high-resolution views of digitized cultural objects with detailed art historical research findings. Making use of latest web technologies, the resulting visualization environment allows for dynamic filtering and zooming of a collection of visual resources that are arranged along a contextualized timeline. We share insights from our collaborative design process and the feedback and usage data gathered during the deployment of the resulting prototype as a web application. We end with a discussion of transferability of carefully crafted and collaboratively negotiated visualizations of cultural heritage and raise questions concerning the applicability of our approach to related strands of humanities research.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2017-08-27},\n\tjournal = {Digital Humanities Quarterly},\n\tauthor = {Glinka, Katrin and Pietsch, Christopher and Dörk, Marian},\n\tyear = {2017},\n}\n\n
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\n We present a case study on visualizing a collection of historic drawings along its metadata structure while also allowing for close examination of the artifacts’ texture. With regards to the specific character of cultural heritage at the intersection of research, education, and public interest, the presented visualization environment aims at meeting the requirements of both researchers as well as a broader public. We present the results from a collaborative interdisciplinary research project that involved a cultural heritage foundation, art historians, designers, and computer scientists. The case study examines the potential of visualization when applied to, and developed for, cultural heritage collections. It specifically explores how techniques aimed at visualizing the quantitative structure of a collection can be coupled with a more qualitative mode that allows for detailed examination of the artifacts and their contexts by displaying high-resolution views of digitized cultural objects with detailed art historical research findings. Making use of latest web technologies, the resulting visualization environment allows for dynamic filtering and zooming of a collection of visual resources that are arranged along a contextualized timeline. We share insights from our collaborative design process and the feedback and usage data gathered during the deployment of the resulting prototype as a web application. We end with a discussion of transferability of carefully crafted and collaboratively negotiated visualizations of cultural heritage and raise questions concerning the applicability of our approach to related strands of humanities research.\n
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\n \n\n \n \n \n \n \n \n Zwischen Repräsentation und Rezeption: Visualisierung als Facette von Analyse und Argumentation in der Kunstgeschichte.\n \n \n \n \n\n\n \n Glinka, K.; and Dörk, M.\n\n\n \n\n\n\n In Kuroczyński, P.; Bell, P.; and Dieckmann, L., editor(s), Computing Art Reader: Einführung in die digitale Kunstgeschichte, volume 1, of Computing in Art and Architecture, pages 234–250. University Library Heidelberg, 2018.\n Version Number: 1\n\n\n\n
\n\n\n\n \n \n \"ZwischenPaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@incollection{glinka_zwischen_2018,\n\tseries = {Computing in {Art} and {Architecture}},\n\ttitle = {Zwischen {Repräsentation} und {Rezeption}: {Visualisierung} als {Facette} von {Analyse} und {Argumentation} in der {Kunstgeschichte}},\n\tvolume = {1},\n\turl = {10.11588/ARTHISTORICUM.413.C5825},\n\tabstract = {Digitale Technologien verändern nicht nur die Rezeptionsmöglichkeiten musealer Bestände im Kontext von digitalen Ausstellungen und Vermittlung, sie haben gleichzeitig zu einer methodischen Erweiterung geisteswissenschaftlicher Forschung beigetragen. Der vorliegende Beitrag untersucht in diesem Zusammenhang die Potenziale von Visualisierung für die kunstgeschichtliche Forschung, Lehre und Wissensvermittlung. Neben einer Begriffsklärung und Einführung in die Grundprinzipien computergestützter Visualisierungstechniken illustriert der Beitrag anhand von existierenden Beispielen aus der Praxis die erörterten Mechanismen und Anwendungsmöglichkeiten. Der Fokus liegt dabei auf den Potenzialen, die Informationsvisualisierung für die Repräsentation und Rezeption von kunsthistorischen Daten und Bildquellen bereithält. Hierbei wird der Einsatz von Visualisierung als Analysemethode innerhalb eines Forschungs- und Erkenntnisprozesses sowie als Mittel zur Präsentation von Ergebnissen und bildgestützter Argumentation beschrieben.},\n\tlanguage = {de},\n\turldate = {2020-12-17},\n\tbooktitle = {Computing {Art} {Reader}: {Einführung} in die digitale {Kunstgeschichte}},\n\tpublisher = {University Library Heidelberg},\n\tauthor = {Glinka, Katrin and Dörk, Marian},\n\teditor = {Kuroczyński, Piotr and Bell, Peter and Dieckmann, Lisa},\n\tyear = {2018},\n\tdoi = {10.11588/ARTHISTORICUM.413.C5825},\n\tnote = {Version Number: 1},\n\tpages = {234--250},\n}\n\n
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\n Digitale Technologien verändern nicht nur die Rezeptionsmöglichkeiten musealer Bestände im Kontext von digitalen Ausstellungen und Vermittlung, sie haben gleichzeitig zu einer methodischen Erweiterung geisteswissenschaftlicher Forschung beigetragen. Der vorliegende Beitrag untersucht in diesem Zusammenhang die Potenziale von Visualisierung für die kunstgeschichtliche Forschung, Lehre und Wissensvermittlung. Neben einer Begriffsklärung und Einführung in die Grundprinzipien computergestützter Visualisierungstechniken illustriert der Beitrag anhand von existierenden Beispielen aus der Praxis die erörterten Mechanismen und Anwendungsmöglichkeiten. Der Fokus liegt dabei auf den Potenzialen, die Informationsvisualisierung für die Repräsentation und Rezeption von kunsthistorischen Daten und Bildquellen bereithält. Hierbei wird der Einsatz von Visualisierung als Analysemethode innerhalb eines Forschungs- und Erkenntnisprozesses sowie als Mittel zur Präsentation von Ergebnissen und bildgestützter Argumentation beschrieben.\n
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\n  \n Fletcher, P.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Pamela Fletcher. Essay on \"Reflections on Digital Art History.\".\n \n \n \n \n\n\n \n Fletcher, P.\n\n\n \n\n\n\n caa.reviews. June 2015.\n \n\n\n\n
\n\n\n\n \n \n \"PamelaPaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@article{fletcher_pamela_2015,\n\ttitle = {Pamela {Fletcher}. {Essay} on "{Reflections} on {Digital} {Art} {History}."},\n\tissn = {1543-950X},\n\turl = {http://www.caareviews.org/reviews/2726},\n\tdoi = {10.3202/caa.reviews.2015.73},\n\tlanguage = {en},\n\turldate = {2020-03-12},\n\tjournal = {caa.reviews},\n\tauthor = {Fletcher, Pamela},\n\tmonth = jun,\n\tyear = {2015},\n}\n\n
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\n  \n Fornaro, P.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Zugang zum digitalen Archiv.\n \n \n \n \n\n\n \n Fornaro, P.\n\n\n \n\n\n\n Arbido, (3). 2019.\n \n\n\n\n
\n\n\n\n \n \n \"ZugangPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@article{fornaro_zugang_2019,\n\ttitle = {Zugang zum digitalen {Archiv}},\n\turl = {https://arbido.ch/de/ausgaben-artikel/2019/zugang-acc%C3%A8s/zugang-zum-digitalen-archiv},\n\tabstract = {Die wachsende Menge an digitalem Archivgut und die damit verbundenen Kosten zur Speicherung wecken zunehmend den Wunsch nach Funktion und Anwendbarkeit der digitalen Daten. Open Access und Interoperabilität sind in diesem Zusammenhang von Wichtigkeit. Ein Blick auf die Qualität der digitalen Daten ist um so wichtiger.},\n\tlanguage = {de},\n\tnumber = {3},\n\turldate = {2021-07-13},\n\tjournal = {Arbido},\n\tauthor = {Fornaro, Peter},\n\tyear = {2019},\n}\n\n
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\n Die wachsende Menge an digitalem Archivgut und die damit verbundenen Kosten zur Speicherung wecken zunehmend den Wunsch nach Funktion und Anwendbarkeit der digitalen Daten. Open Access und Interoperabilität sind in diesem Zusammenhang von Wichtigkeit. Ein Blick auf die Qualität der digitalen Daten ist um so wichtiger.\n
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\n  \n Gasser, S.\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n \n Digitale Sammlungen: Anforderungen an das digitalisierte Kulturerbe.\n \n \n \n \n\n\n \n Gasser, S.\n\n\n \n\n\n\n of Edition Museumtranscript, Bielefeld, 2024.\n \n\n\n\n
\n\n\n\n \n \n \"DigitalePaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n  \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n  \n \n \n \n \n \n \n \n \n \n \n\n\n\n
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@book{gasser2024,\n\taddress = {Bielefeld},\n\tseries = {Edition {Museum}},\n\ttitle = {Digitale {Sammlungen}: {Anforderungen} an das digitalisierte {Kulturerbe}},\n\tcopyright = {All rights reserved},\n\tisbn = {978-3-8376-7021-9},\n\tshorttitle = {Digitale {Sammlungen}},\n\turl = {https://www.transcript-verlag.de/978-3-8376-7021-9/digitale-sammlungen/},\n\tabstract = {Wie kann der Öffentlichkeit ein digitaler Zugang zu Sammlungen visuellen Kulturerbes ermöglicht werden? Diese Frage beschäftigt viele Museen, Archive und Bibliotheken, allerdings fehlen entsprechende Erhebungen, die bei der Umsetzung helfen könnten. Im Auftrag der Stiftung für Kunst, Kultur und Geschichte (SKKG) in Winterthur widmet sich Sonja Gasser dieser Leerstelle und analysiert in einer Umfrage die Anforderungen zur digitalen Repräsentation von Sammlungen. Die Ergebnisse bieten Museen und anderen Kulturinstitutionen Orientierung und Inspiration - beispielsweise bei der Entwicklung oder Erweiterung eines digitalen Angebots und der Abstimmung digitaler Sammlungen auf die Bedürfnisse der Nutzenden},\n\tlanguage = {de},\n\tnumber = {Band 81},\n\turldate = {2024-01-06},\n\tpublisher = {transcript},\n\tauthor = {Gasser, Sonja},\n\teditor = {Stiftung für Kunst, Kultur und Geschichte},\n\tyear = {2024},\n\tdoi = {https://doi.org/10.14361/9783839470213},\n\tkeywords = {GLAM, Museum, digitale Sammlung, open access},\n}\n\n
\n
\n\n\n
\n Wie kann der Öffentlichkeit ein digitaler Zugang zu Sammlungen visuellen Kulturerbes ermöglicht werden? Diese Frage beschäftigt viele Museen, Archive und Bibliotheken, allerdings fehlen entsprechende Erhebungen, die bei der Umsetzung helfen könnten. Im Auftrag der Stiftung für Kunst, Kultur und Geschichte (SKKG) in Winterthur widmet sich Sonja Gasser dieser Leerstelle und analysiert in einer Umfrage die Anforderungen zur digitalen Repräsentation von Sammlungen. Die Ergebnisse bieten Museen und anderen Kulturinstitutionen Orientierung und Inspiration - beispielsweise bei der Entwicklung oder Erweiterung eines digitalen Angebots und der Abstimmung digitaler Sammlungen auf die Bedürfnisse der Nutzenden\n
\n\n\n
\n\n\n
\n \n\n \n \n \n \n \n \n Das Digitalisat als Objekt der Begierde: Anforderungen an digitale Sammlungen für Forschung in der Digitalen Kunstgeschichte.\n \n \n \n \n\n\n \n Gasser, S.\n\n\n \n\n\n\n In Andraschke, U.; and Wagner, S., editor(s), Objekte im Netz. Wissenschaftliche Sammlungen im digitalen Wandel, of Digitale Gesellschaft, pages 261–276. Transcript Verlag, Bielefeld, 2020.\n \n\n\n\n
\n\n\n\n \n \n \"DasPaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n  \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@incollection{gasser_digitalisat_2020,\n\taddress = {Bielefeld},\n\tseries = {Digitale {Gesellschaft}},\n\ttitle = {Das {Digitalisat} als {Objekt} der {Begierde}: {Anforderungen} an digitale {Sammlungen} für {Forschung} in der {Digitalen} {Kunstgeschichte}},\n\tisbn = {978-3-8376-5571-1},\n\turl = {https://www.transcript-verlag.de/media/pdf/13/4b/be/oa9783839455715G024TrtLLmLeY.pdf},\n\tlanguage = {de},\n\tnumber = {33},\n\tbooktitle = {Objekte im {Netz}. {Wissenschaftliche} {Sammlungen} im digitalen {Wandel}},\n\tpublisher = {transcript Verlag},\n\tauthor = {Gasser, Sonja},\n\teditor = {Andraschke, Udo and Wagner, Sarah},\n\tyear = {2020},\n\tdoi = {10.14361/9783839455715-019},\n\tpages = {261--276},\n}\n\n
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\n  \n Glinka, K.\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n \n Past Visions and Reconciling Views: Visualizing Time, Texture and Themes in Cultural Collections.\n \n \n \n \n\n\n \n Glinka, K.; Pietsch, C.; and Dörk, M.\n\n\n \n\n\n\n Digital Humanities Quarterly, 11(2). 2017.\n \n\n\n\n
\n\n\n\n \n \n \"PastPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@article{glinka_past_2017,\n\ttitle = {Past {Visions} and {Reconciling} {Views}: {Visualizing} {Time}, {Texture} and {Themes} in {Cultural} {Collections}},\n\tvolume = {11},\n\tissn = {1938-4122},\n\tshorttitle = {Past {Visions} and {Reconciling} {Views}},\n\turl = {http://www.digitalhumanities.org/dhq/vol/11/2/000290/000290.html},\n\tabstract = {We present a case study on visualizing a collection of historic drawings along its metadata structure while also allowing for close examination of the artifacts’ texture. With regards to the specific character of cultural heritage at the intersection of research, education, and public interest, the presented visualization environment aims at meeting the requirements of both researchers as well as a broader public. We present the results from a collaborative interdisciplinary research project that involved a cultural heritage foundation, art historians, designers, and computer scientists. The case study examines the potential of visualization when applied to, and developed for, cultural heritage collections. It specifically explores how techniques aimed at visualizing the quantitative structure of a collection can be coupled with a more qualitative mode that allows for detailed examination of the artifacts and their contexts by displaying high-resolution views of digitized cultural objects with detailed art historical research findings. Making use of latest web technologies, the resulting visualization environment allows for dynamic filtering and zooming of a collection of visual resources that are arranged along a contextualized timeline. We share insights from our collaborative design process and the feedback and usage data gathered during the deployment of the resulting prototype as a web application. We end with a discussion of transferability of carefully crafted and collaboratively negotiated visualizations of cultural heritage and raise questions concerning the applicability of our approach to related strands of humanities research.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2017-08-27},\n\tjournal = {Digital Humanities Quarterly},\n\tauthor = {Glinka, Katrin and Pietsch, Christopher and Dörk, Marian},\n\tyear = {2017},\n}\n\n
\n
\n\n\n
\n We present a case study on visualizing a collection of historic drawings along its metadata structure while also allowing for close examination of the artifacts’ texture. With regards to the specific character of cultural heritage at the intersection of research, education, and public interest, the presented visualization environment aims at meeting the requirements of both researchers as well as a broader public. We present the results from a collaborative interdisciplinary research project that involved a cultural heritage foundation, art historians, designers, and computer scientists. The case study examines the potential of visualization when applied to, and developed for, cultural heritage collections. It specifically explores how techniques aimed at visualizing the quantitative structure of a collection can be coupled with a more qualitative mode that allows for detailed examination of the artifacts and their contexts by displaying high-resolution views of digitized cultural objects with detailed art historical research findings. Making use of latest web technologies, the resulting visualization environment allows for dynamic filtering and zooming of a collection of visual resources that are arranged along a contextualized timeline. We share insights from our collaborative design process and the feedback and usage data gathered during the deployment of the resulting prototype as a web application. We end with a discussion of transferability of carefully crafted and collaboratively negotiated visualizations of cultural heritage and raise questions concerning the applicability of our approach to related strands of humanities research.\n
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\n \n\n \n \n \n \n \n \n Zwischen Repräsentation und Rezeption: Visualisierung als Facette von Analyse und Argumentation in der Kunstgeschichte.\n \n \n \n \n\n\n \n Glinka, K.; and Dörk, M.\n\n\n \n\n\n\n In Kuroczyński, P.; Bell, P.; and Dieckmann, L., editor(s), Computing Art Reader: Einführung in die digitale Kunstgeschichte, volume 1, of Computing in Art and Architecture, pages 234–250. University Library Heidelberg, 2018.\n Version Number: 1\n\n\n\n
\n\n\n\n \n \n \"ZwischenPaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@incollection{glinka_zwischen_2018,\n\tseries = {Computing in {Art} and {Architecture}},\n\ttitle = {Zwischen {Repräsentation} und {Rezeption}: {Visualisierung} als {Facette} von {Analyse} und {Argumentation} in der {Kunstgeschichte}},\n\tvolume = {1},\n\turl = {10.11588/ARTHISTORICUM.413.C5825},\n\tabstract = {Digitale Technologien verändern nicht nur die Rezeptionsmöglichkeiten musealer Bestände im Kontext von digitalen Ausstellungen und Vermittlung, sie haben gleichzeitig zu einer methodischen Erweiterung geisteswissenschaftlicher Forschung beigetragen. Der vorliegende Beitrag untersucht in diesem Zusammenhang die Potenziale von Visualisierung für die kunstgeschichtliche Forschung, Lehre und Wissensvermittlung. Neben einer Begriffsklärung und Einführung in die Grundprinzipien computergestützter Visualisierungstechniken illustriert der Beitrag anhand von existierenden Beispielen aus der Praxis die erörterten Mechanismen und Anwendungsmöglichkeiten. Der Fokus liegt dabei auf den Potenzialen, die Informationsvisualisierung für die Repräsentation und Rezeption von kunsthistorischen Daten und Bildquellen bereithält. Hierbei wird der Einsatz von Visualisierung als Analysemethode innerhalb eines Forschungs- und Erkenntnisprozesses sowie als Mittel zur Präsentation von Ergebnissen und bildgestützter Argumentation beschrieben.},\n\tlanguage = {de},\n\turldate = {2020-12-17},\n\tbooktitle = {Computing {Art} {Reader}: {Einführung} in die digitale {Kunstgeschichte}},\n\tpublisher = {University Library Heidelberg},\n\tauthor = {Glinka, Katrin and Dörk, Marian},\n\teditor = {Kuroczyński, Piotr and Bell, Peter and Dieckmann, Lisa},\n\tyear = {2018},\n\tdoi = {10.11588/ARTHISTORICUM.413.C5825},\n\tnote = {Version Number: 1},\n\tpages = {234--250},\n}\n\n
\n
\n\n\n
\n Digitale Technologien verändern nicht nur die Rezeptionsmöglichkeiten musealer Bestände im Kontext von digitalen Ausstellungen und Vermittlung, sie haben gleichzeitig zu einer methodischen Erweiterung geisteswissenschaftlicher Forschung beigetragen. Der vorliegende Beitrag untersucht in diesem Zusammenhang die Potenziale von Visualisierung für die kunstgeschichtliche Forschung, Lehre und Wissensvermittlung. Neben einer Begriffsklärung und Einführung in die Grundprinzipien computergestützter Visualisierungstechniken illustriert der Beitrag anhand von existierenden Beispielen aus der Praxis die erörterten Mechanismen und Anwendungsmöglichkeiten. Der Fokus liegt dabei auf den Potenzialen, die Informationsvisualisierung für die Repräsentation und Rezeption von kunsthistorischen Daten und Bildquellen bereithält. Hierbei wird der Einsatz von Visualisierung als Analysemethode innerhalb eines Forschungs- und Erkenntnisprozesses sowie als Mittel zur Präsentation von Ergebnissen und bildgestützter Argumentation beschrieben.\n
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\n  \n Impett, L.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Ikonographie und Interaktion. Computergestützte Analyse von Posen in Bildern der Heilsgeschichte.\n \n \n \n \n\n\n \n Bell, P.; and Impett, L.\n\n\n \n\n\n\n Das Mittelalter, 24(1): 31–53. July 2019.\n Publisher: De Gruyter Section: Das Mittelalter\n\n\n\n
\n\n\n\n \n \n \"IkonographiePaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n  \n \n 1 download\n \n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@article{bell_ikonographie_2019,\n\ttitle = {Ikonographie und {Interaktion}. {Computergestützte} {Analyse} von {Posen} in {Bildern} der {Heilsgeschichte}},\n\tvolume = {24},\n\tissn = {0949-0345, 2196-6869},\n\turl = {https://www.degruyter.com/view/journals/mial/24/1/article-p31.xml},\n\tdoi = {10.1515/mial-2019-0004},\n\tabstract = {{\\textless}section class="abstract"{\\textgreater}{\\textless}h2 class="abstractTitle text-title my-1" id="d335e2"{\\textgreater}Abstract{\\textless}/h2{\\textgreater}{\\textless}p{\\textgreater}The last few years have seen an explosion of medieval images in digital form, chiefly as a result of photo-library and manuscript digitisation projects. An entire corpus of images, even selected solely by scene or iconography, becomes an unwieldy object of study by traditional art-historical means. This is even more the case for medieval images, where authorship and dating are often cloudy and unclear, and the image itself is in many cases the first resource for scholarly inquiry.We take the digital image – in particular, the digital image of the body – as our object of study in a wide-ranging computationally-augmented reading of an image-corpus; ours is made up of thousands of depictions of the ‘Annunciation’ and ‘Baptism’, selected not only for their primacy in Christian art but for their dialogical interaction. Our corpus of 6,564 ‘Annunciations’ and 883 ‘Baptisms’, whilst not necessarily representative in density, includes a wide range of stylistic, theological and historical tendencies.We computationally extract not only body images but poses, gestures and interactions. Such a range of gestures allows for a morphological treatment of bodily motifs, whose multi-dimensional, quantitative nature allows us to complicate and problematise iconographic taxonomies, populating the spaces between categories. Finally, our gestural manifolds provide a morphological pointer to dissecting the microtemporalities of the scenes, and their relative dynamics and inconsistencies.{\\textless}/p{\\textgreater}{\\textless}/section{\\textgreater}},\n\tlanguage = {de},\n\tnumber = {1},\n\turldate = {2020-07-07},\n\tjournal = {Das Mittelalter},\n\tauthor = {Bell, Peter and Impett, Leonardo},\n\tmonth = jul,\n\tyear = {2019},\n\tnote = {Publisher: De Gruyter\nSection: Das Mittelalter},\n\tpages = {31--53},\n}\n\n
\n
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\n \\textlesssection class=\"abstract\"\\textgreater\\textlessh2 class=\"abstractTitle text-title my-1\" id=\"d335e2\"\\textgreaterAbstract\\textless/h2\\textgreater\\textlessp\\textgreaterThe last few years have seen an explosion of medieval images in digital form, chiefly as a result of photo-library and manuscript digitisation projects. An entire corpus of images, even selected solely by scene or iconography, becomes an unwieldy object of study by traditional art-historical means. This is even more the case for medieval images, where authorship and dating are often cloudy and unclear, and the image itself is in many cases the first resource for scholarly inquiry.We take the digital image – in particular, the digital image of the body – as our object of study in a wide-ranging computationally-augmented reading of an image-corpus; ours is made up of thousands of depictions of the ‘Annunciation’ and ‘Baptism’, selected not only for their primacy in Christian art but for their dialogical interaction. Our corpus of 6,564 ‘Annunciations’ and 883 ‘Baptisms’, whilst not necessarily representative in density, includes a wide range of stylistic, theological and historical tendencies.We computationally extract not only body images but poses, gestures and interactions. Such a range of gestures allows for a morphological treatment of bodily motifs, whose multi-dimensional, quantitative nature allows us to complicate and problematise iconographic taxonomies, populating the spaces between categories. Finally, our gestural manifolds provide a morphological pointer to dissecting the microtemporalities of the scenes, and their relative dynamics and inconsistencies.\\textless/p\\textgreater\\textless/section\\textgreater\n
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\n  \n Kohle, H.\n \n \n (2)\n \n \n
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\n \n\n \n \n \n \n \n \n Museen digital: Eine Gedächtnisinstitution sucht den Anschluss an die Zukunft.\n \n \n \n \n\n\n \n Kohle, H.\n\n\n \n\n\n\n Heidelberg University Publishing, Heidelberg, 2018.\n \n\n\n\n
\n\n\n\n \n \n \"MuseenPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@book{kohle_museen_2018,\n\taddress = {Heidelberg},\n\ttitle = {Museen digital: {Eine} {Gedächtnisinstitution} sucht den {Anschluss} an die {Zukunft}},\n\tisbn = {9783946054863},\n\tshorttitle = {Museen digital},\n\turl = {10.17885/heiup.365.515},\n\tlanguage = {ger},\n\tpublisher = {Heidelberg University Publishing},\n\tauthor = {Kohle, Hubertus},\n\tyear = {2018},\n}\n\n
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\n \n\n \n \n \n \n \n \n Digitale Bildwissenschaft.\n \n \n \n \n\n\n \n Kohle, H.\n\n\n \n\n\n\n of E-HumanitiesHülsbusch, Werner, Boizenberg, 2013.\n OCLC: ocn856579923\n\n\n\n
\n\n\n\n \n \n \"DigitalePaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n
\n
@book{kohle_digitale_2013,\n\taddress = {Boizenberg},\n\tseries = {E-{Humanities}},\n\ttitle = {Digitale {Bildwissenschaft}},\n\tisbn = {9783864880360},\n\turl = {http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2013/2185},\n\tabstract = {Das Digitale hat seinen Einzug in die Kulturwissenschaften gehalten. Aber was kann es zur Deutung von Bildern, gar von Kunstwerken beitragen? Eine Antwort darauf versucht das Buch 'Digitale Bildwissenschaft'. Sein Autor behauptet nicht zuallererst, dass man mit dem Computer viel schneller wissenschaftliche Fragen abhandeln kann, sondern dass sich vor allem Methodiken des Analysierens, Publizierens und Bewertens ändern. Für klassische Geisteswissenschaftler sind solche Wandlungen nicht leicht zu verdauen. Wird eine digitale Bildgeschichte überhaupt noch Geschichtsschreibung sein?},\n\tpublisher = {Hülsbusch, Werner},\n\tauthor = {Kohle, Hubertus},\n\tyear = {2013},\n\tnote = {OCLC: ocn856579923},\n\tkeywords = {Art, Art and society, Augmented reality, Computer art, Computer network resources, Data processing, Digital image correlation, Digital techniques, Electronic information resources, Humanities, Image processing, Social aspects},\n}\n\n
\n
\n\n\n
\n Das Digitale hat seinen Einzug in die Kulturwissenschaften gehalten. Aber was kann es zur Deutung von Bildern, gar von Kunstwerken beitragen? Eine Antwort darauf versucht das Buch 'Digitale Bildwissenschaft'. Sein Autor behauptet nicht zuallererst, dass man mit dem Computer viel schneller wissenschaftliche Fragen abhandeln kann, sondern dass sich vor allem Methodiken des Analysierens, Publizierens und Bewertens ändern. Für klassische Geisteswissenschaftler sind solche Wandlungen nicht leicht zu verdauen. Wird eine digitale Bildgeschichte überhaupt noch Geschichtsschreibung sein?\n
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\n  \n Messemer, H.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Heike Messemer: Digitale 3D-Modelle historischer Architektur - arthistoricum.net - ART-Books.\n \n \n \n \n\n\n \n Messemer, H.\n\n\n \n\n\n\n .\n \n\n\n\n
\n\n\n\n \n \n \"HeikePaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@book{messemer_heike_heike_nodate,\n\ttitle = {Heike {Messemer}: {Digitale} {3D}-{Modelle} historischer {Architektur} - arthistoricum.net - {ART}-{Books}},\n\tisbn = {978-3-947449-71-2},\n\turl = {https://books.ub.uni-heidelberg.de/arthistoricum/catalog/book/516},\n\tabstract = {arthistoricum.net - ART-Books ist ein Open-Access-Verlag für kunstwissenschaftliche Publikationen - qualitätsgeprüft und in mehreren Formaten.},\n\turldate = {2020-06-19},\n\tauthor = {Messemer, Heike},\n}\n\n
\n
\n\n\n
\n arthistoricum.net - ART-Books ist ein Open-Access-Verlag für kunstwissenschaftliche Publikationen - qualitätsgeprüft und in mehreren Formaten.\n
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\n  \n Oliveira, S.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n imgs.ai: Die Suche durch Bilder.\n \n \n \n \n\n\n \n Oliveira, S.\n\n\n \n\n\n\n November 2020.\n \n\n\n\n
\n\n\n\n \n \n \"imgs.ai:Paper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
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@misc{oliveira_imgsai_2020,\n\ttype = {Blog},\n\ttitle = {imgs.ai: {Die} {Suche} durch {Bilder}},\n\tshorttitle = {imgs.ai},\n\turl = {https://einblicke.hypotheses.org/170},\n\tabstract = {Imgs.ai ist ein Tool, um Bilder aus unterschiedlichen Datensätzen zu finden. Entwickelt wurde es von Fabian Offert mit Unterstützung von Oleg Harlamov und Peter Bell, der uns die Funktionen in Form eines Workshops vermittelte. Die Entwicklung des Tools befindet sich zur Zeit in der Beta-Phase und wird unter einer Open-Source-Lizenz zur Verfügung gestellt. Beta-Phase meint […]},\n\tlanguage = {de-DE},\n\turldate = {2020-12-28},\n\tjournal = {Einblicke in die Digital Humanities},\n\tauthor = {Oliveira, Simona},\n\tmonth = nov,\n\tyear = {2020},\n}\n\n
\n
\n\n\n
\n Imgs.ai ist ein Tool, um Bilder aus unterschiedlichen Datensätzen zu finden. Entwickelt wurde es von Fabian Offert mit Unterstützung von Oleg Harlamov und Peter Bell, der uns die Funktionen in Form eines Workshops vermittelte. Die Entwicklung des Tools befindet sich zur Zeit in der Beta-Phase und wird unter einer Open-Source-Lizenz zur Verfügung gestellt. Beta-Phase meint […]\n
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\n  \n Ommer, B.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Training Argus. Ansätze zum automatischen Sehen in der Kunstgeschichte.\n \n \n \n \n\n\n \n Bell, P.; and Ommer, B.\n\n\n \n\n\n\n Kunstchronik, 68: 414–420. 2015.\n \n\n\n\n
\n\n\n\n \n \n \"TrainingPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@article{bell_training_2015,\n\ttitle = {Training {Argus}. {Ansätze} zum automatischen {Sehen} in der {Kunstgeschichte}},\n\tvolume = {68},\n\tissn = {00235474},\n\turl = {http://www.digizeitschriften.de/dms/img/?PID=PPN522562264_0068%7CLOG_0135},\n\tlanguage = {de},\n\turldate = {2020-03-12},\n\tjournal = {Kunstchronik},\n\tauthor = {Bell, Peter and Ommer, Björn},\n\tyear = {2015},\n\tpages = {414--420},\n}\n\n
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\n  \n Pietsch, C.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Past Visions and Reconciling Views: Visualizing Time, Texture and Themes in Cultural Collections.\n \n \n \n \n\n\n \n Glinka, K.; Pietsch, C.; and Dörk, M.\n\n\n \n\n\n\n Digital Humanities Quarterly, 11(2). 2017.\n \n\n\n\n
\n\n\n\n \n \n \"PastPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@article{glinka_past_2017,\n\ttitle = {Past {Visions} and {Reconciling} {Views}: {Visualizing} {Time}, {Texture} and {Themes} in {Cultural} {Collections}},\n\tvolume = {11},\n\tissn = {1938-4122},\n\tshorttitle = {Past {Visions} and {Reconciling} {Views}},\n\turl = {http://www.digitalhumanities.org/dhq/vol/11/2/000290/000290.html},\n\tabstract = {We present a case study on visualizing a collection of historic drawings along its metadata structure while also allowing for close examination of the artifacts’ texture. With regards to the specific character of cultural heritage at the intersection of research, education, and public interest, the presented visualization environment aims at meeting the requirements of both researchers as well as a broader public. We present the results from a collaborative interdisciplinary research project that involved a cultural heritage foundation, art historians, designers, and computer scientists. The case study examines the potential of visualization when applied to, and developed for, cultural heritage collections. It specifically explores how techniques aimed at visualizing the quantitative structure of a collection can be coupled with a more qualitative mode that allows for detailed examination of the artifacts and their contexts by displaying high-resolution views of digitized cultural objects with detailed art historical research findings. Making use of latest web technologies, the resulting visualization environment allows for dynamic filtering and zooming of a collection of visual resources that are arranged along a contextualized timeline. We share insights from our collaborative design process and the feedback and usage data gathered during the deployment of the resulting prototype as a web application. We end with a discussion of transferability of carefully crafted and collaboratively negotiated visualizations of cultural heritage and raise questions concerning the applicability of our approach to related strands of humanities research.},\n\tlanguage = {en},\n\tnumber = {2},\n\turldate = {2017-08-27},\n\tjournal = {Digital Humanities Quarterly},\n\tauthor = {Glinka, Katrin and Pietsch, Christopher and Dörk, Marian},\n\tyear = {2017},\n}\n\n
\n
\n\n\n
\n We present a case study on visualizing a collection of historic drawings along its metadata structure while also allowing for close examination of the artifacts’ texture. With regards to the specific character of cultural heritage at the intersection of research, education, and public interest, the presented visualization environment aims at meeting the requirements of both researchers as well as a broader public. We present the results from a collaborative interdisciplinary research project that involved a cultural heritage foundation, art historians, designers, and computer scientists. The case study examines the potential of visualization when applied to, and developed for, cultural heritage collections. It specifically explores how techniques aimed at visualizing the quantitative structure of a collection can be coupled with a more qualitative mode that allows for detailed examination of the artifacts and their contexts by displaying high-resolution views of digitized cultural objects with detailed art historical research findings. Making use of latest web technologies, the resulting visualization environment allows for dynamic filtering and zooming of a collection of visual resources that are arranged along a contextualized timeline. We share insights from our collaborative design process and the feedback and usage data gathered during the deployment of the resulting prototype as a web application. We end with a discussion of transferability of carefully crafted and collaboratively negotiated visualizations of cultural heritage and raise questions concerning the applicability of our approach to related strands of humanities research.\n
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\n  \n undefined\n \n \n (6)\n \n \n
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\n \n\n \n \n \n \n \n \n #DigiCampus: digitale Forschung und Lehre in den Geisteswissenschaften.\n \n \n \n \n\n\n \n Klinke, H.,\n editor.\n \n\n\n \n\n\n\n Universitätsbibliothek, Ludwig-Maximilians-Universität München, Open publishing LMU, München, Erstveröffentlichung edition, 2018.\n \n\n\n\n
\n\n\n\n \n \n \"#DigiCampus:Paper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n \n \n \n \n \n \n\n\n\n
\n
@book{klinke_digicampus_2018,\n\taddress = {München},\n\tedition = {Erstveröffentlichung},\n\ttitle = {\\#{DigiCampus}: digitale {Forschung} und {Lehre} in den {Geisteswissenschaften}},\n\tisbn = {978-3-95925-055-9},\n\tshorttitle = {\\#{DigiCampus}},\n\turl = {http://nbn-resolving.de/urn:nbn:de:bvb:19-epub-41218-5},\n\tlanguage = {ger},\n\tpublisher = {Universitätsbibliothek, Ludwig-Maximilians-Universität München, Open publishing LMU},\n\teditor = {Klinke, Harald},\n\tyear = {2018},\n\tkeywords = {UB Bern Standortcheck: Kurierbibliothek, UB Bern Standortcheck: Online, UB Bern Standortcheck: ja},\n}\n\n
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\n \n\n \n \n \n \n \n The Routledge Companion to Digital Humanities and Art History.\n \n \n \n\n\n \n Brown, K.,\n editor.\n \n\n\n \n\n\n\n of Routledge art history and visual studies companionsRoutledge, New York, 2020.\n \n\n\n\n
\n\n\n\n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n \n \n \n \n \n \n\n\n\n
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@book{brown_routledge_2020,\n\taddress = {New York},\n\tseries = {Routledge art history and visual studies companions},\n\ttitle = {The {Routledge} {Companion} to {Digital} {Humanities} and {Art} {History}},\n\tisbn = {978-0-429-50518-8},\n\tabstract = {"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 trans-disciplinary 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"--},\n\tpublisher = {Routledge},\n\teditor = {Brown, Kathryn},\n\tyear = {2020},\n\tkeywords = {Art, Digital humanities, Historiography Data processing},\n}\n\n
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\n \"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 trans-disciplinary 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\"–\n
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\n \n\n \n \n \n \n \n \n International journal for digital art history. Issue 1, What is Digital Art History?.\n \n \n \n \n\n\n \n Klinke, H.; and Surkemper, L.,\n editors.\n \n\n\n \n\n\n\n Graphentis Verlag, Munich, 2015.\n OCLC: 990143320\n\n\n\n
\n\n\n\n \n \n \"InternationalPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@book{klinke_international_2015,\n\taddress = {Munich},\n\ttitle = {International journal for digital art history. {Issue} 1, {What} is {Digital} {Art} {History}?},\n\tisbn = {9783942819107},\n\turl = {https://journals.ub.uni-heidelberg.de/index.php/dah/issue/view/2226},\n\tlanguage = {English},\n\tpublisher = {Graphentis Verlag},\n\teditor = {Klinke, Harald and Surkemper, Liska},\n\tyear = {2015},\n\tnote = {OCLC: 990143320},\n}\n\n
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\n \n\n \n \n \n \n \n \n International Journal for Digital Art History: Issue 3, 2018 Digital Space and Architecture.\n \n \n \n \n\n\n \n Klinke, H.; Surkemper, L.; and Underhill, J.,\n editors.\n \n\n\n \n\n\n\n Graphentis Verlag e.K, 2018.\n OCLC: 1088628650\n\n\n\n
\n\n\n\n \n \n \"InternationalPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@book{klinke_international_2018,\n\ttitle = {International {Journal} for {Digital} {Art} {History}: {Issue} 3, 2018 {Digital} {Space} and {Architecture}.},\n\tisbn = {9783942819121},\n\tshorttitle = {{DAHJ}},\n\turl = {https://journals.ub.uni-heidelberg.de/index.php/dah/issue/view/3471/},\n\tlanguage = {English},\n\tpublisher = {Graphentis Verlag e.K},\n\teditor = {Klinke, Harald and Surkemper, Liska and Underhill, Justin},\n\tyear = {2018},\n\tnote = {OCLC: 1088628650},\n}\n\n
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\n \n\n \n \n \n \n \n \n Von analogen und digitalen Zugängen zur Kunst Festschrift für Hubertus Kohle zum 60. Geburtstag.\n \n \n \n \n\n\n \n Effinger, M.; Hoppe, S.; Klinke, H.; and Krysmanski, B.,\n editors.\n \n\n\n \n\n\n\n 2020.\n OCLC: 1135365025\n\n\n\n
\n\n\n\n \n \n \"VonPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@book{effinger_von_2020,\n\ttitle = {Von analogen und digitalen {Zuga}̈ngen zur {Kunst} {Festschrift} für {Hubertus} {Kohle} zum 60. {Geburtstag}.},\n\tisbn = {9783947449590},\n\turl = {https://doi.org/10.11588/arthistoricum.493},\n\tlanguage = {German},\n\teditor = {Effinger, Maria and Hoppe, Stephan and Klinke, Harald and Krysmanski, Bernd},\n\tyear = {2020},\n\tnote = {OCLC: 1135365025},\n}\n\n
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\n \n\n \n \n \n \n \n \n Computing Art Reader Einführung in die digitale Kunstgeschichte.\n \n \n \n \n\n\n \n Kuroczyński, P.; Bell, P.; and Dieckmann, L.,\n editors.\n \n\n\n \n\n\n\n 2019.\n OCLC: 1110093032\n\n\n\n
\n\n\n\n \n \n \"ComputingPaper\n  \n \n\n \n\n \n link\n  \n \n\n bibtex\n \n\n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@book{kuroczynski_computing_2019,\n\ttitle = {Computing {Art} {Reader} {Einfu}̈hrung in die digitale {Kunstgeschichte}.},\n\tisbn = {9783947449675},\n\turl = {https://doi.org/10.11588/arthistoricum.413},\n\tlanguage = {German},\n\teditor = {Kuroczyński, Piotr and Bell, Peter and Dieckmann, Lisa},\n\tyear = {2019},\n\tnote = {OCLC: 1110093032},\n}\n\n
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\n  \n von Pippich, W.\n \n \n (1)\n \n \n
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\n \n\n \n \n \n \n \n \n Rot rechnen.\n \n \n \n \n\n\n \n von Pippich, W.\n\n\n \n\n\n\n Grenzen und Möglichkeiten der Digital Humanities. 2016.\n Last Modified: 2020-02-13T00:04+01:00\n\n\n\n
\n\n\n\n \n \n \"RotPaper\n  \n \n\n \n \n doi\n  \n \n\n \n link\n  \n \n\n bibtex\n \n\n \n  \n \n abstract \n \n\n \n\n \n \n \n \n \n \n \n\n  \n \n \n\n\n\n
\n
@article{von_pippich_rot_2016,\n\ttitle = {Rot rechnen},\n\turl = {http://www.zfdg.de/sb001_016},\n\tdoi = {10.17175/sb001_016},\n\tabstract = {Rot ist eine Farbe und Farbe ist nicht messbar. Ist das so? Das Redcolor-Tool erfasst erstmals Röte in Bildern. Dies geschieht anhand einer Technologie, die jeder Farbe einen Rotwert zumessen kann.},\n\tlanguage = {de},\n\turldate = {2020-04-20},\n\tjournal = {Grenzen und Möglichkeiten der Digital Humanities},\n\tauthor = {von Pippich, Waltraud},\n\teditor = {Baum, Constanze and Stäcker, Thomas},\n\tyear = {2016},\n\tnote = {Last Modified: 2020-02-13T00:04+01:00},\n}\n\n
\n
\n\n\n
\n Rot ist eine Farbe und Farbe ist nicht messbar. Ist das so? Das Redcolor-Tool erfasst erstmals Röte in Bildern. Dies geschieht anhand einer Technologie, die jeder Farbe einen Rotwert zumessen kann.\n
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