Glynnis N. Stevenson has extensive experience in art history and museum work. She holds an MA in Art History from the University of Pennsylvania and a BA in History from the College of William and Mary. Her past roles include curatorial internships at MoMA and the Guggenheim, where she assisted with exhibitions and research. She has also held research, curatorial, and administrative positions at several other museums.
Haywood St. Visioning Project presentationGordon Smith
The document outlines the roster of an Advisory Team created by Asheville City Council to provide guidance on the redevelopment of Haywood Park. It lists the chair, vice chairs, and members which represent various community organizations. It also provides a timeline of the Advisory Team's activities which began with their creation in March 2016 and includes public input sessions, a visioning workshop, and a presentation to City Council in March 2017. The Advisory Team was tasked with creating a community vision and site analysis to guide the design of improvements to Haywood Park.
A cultural study exchange program brought together four street artists from Los Angeles and Turkey to paint murals in each other's countries celebrating international artistic styles. Walter Meyer, a Los Angeles resident and former ad agency owner, facilitated the exchange after noticing the growth of street art in LA and Istanbul. He was intrigued by the political messages commonly featured in Istanbul's street art and how the Turkish government tried to censor such art. The document provides instructions for creating a political poster advocating for Turkey to join the European Union by tracing a photo in Illustrator and merging it with vector graphics and design elements representing Turkey.
Remediation for Collective Reflection Online: The Augusta Community Portfoliodcambrid
The document outlines a proposed online portfolio called the Augusta Community Portfolio. The portfolio aims to showcase the reading and writing of the local community, spark conversations about the community's heritage and future, and provide a place for residents to conduct and share discussions. It would have three layers: exhibits created by community members with expert assistance, collective reflections from online discussions, and individual contributions and reflections. The goal is to make the community's work visible, start conversations, and help develop 21st century literacies through social software and analogous to a museum or National Museum of the American Indian.
On Friday 30th June 2017 we held a special "Growing a stronger local democracy" event to celebrate the launch of our landmark report. This is our story so far, presented by our independent chair, Dr Andrew Mycock from the University of Huddersfield.
This document announces a weekend event to plan the Transeuropa Weekend festival across multiple European cities. The event will include discussions on developing economic alternatives and engaging young people in discussions on European citizenship. Participants will work on common activities, workshops, and an artistic program for the festival. They will also discuss communication strategies and design for promoting the transnational event. The document provides an agenda for the weekend with topics such as festival planning, a transnational walk, and next steps for the project.
Show your support for the New York City Housing Authority's (NYCHA) 43rd Annual Talent Show this spring! Perform on stage with fellow NYCHA residents, or cheer them on from the audience during this great community tradition. Get updates at http://studionycha.org
Glynnis N. Stevenson has extensive experience in art history and museum work. She holds an MA in Art History from the University of Pennsylvania and a BA in History from the College of William and Mary. Her past roles include curatorial internships at MoMA and the Guggenheim, where she assisted with exhibitions and research. She has also held research, curatorial, and administrative positions at several other museums.
Haywood St. Visioning Project presentationGordon Smith
The document outlines the roster of an Advisory Team created by Asheville City Council to provide guidance on the redevelopment of Haywood Park. It lists the chair, vice chairs, and members which represent various community organizations. It also provides a timeline of the Advisory Team's activities which began with their creation in March 2016 and includes public input sessions, a visioning workshop, and a presentation to City Council in March 2017. The Advisory Team was tasked with creating a community vision and site analysis to guide the design of improvements to Haywood Park.
A cultural study exchange program brought together four street artists from Los Angeles and Turkey to paint murals in each other's countries celebrating international artistic styles. Walter Meyer, a Los Angeles resident and former ad agency owner, facilitated the exchange after noticing the growth of street art in LA and Istanbul. He was intrigued by the political messages commonly featured in Istanbul's street art and how the Turkish government tried to censor such art. The document provides instructions for creating a political poster advocating for Turkey to join the European Union by tracing a photo in Illustrator and merging it with vector graphics and design elements representing Turkey.
Remediation for Collective Reflection Online: The Augusta Community Portfoliodcambrid
The document outlines a proposed online portfolio called the Augusta Community Portfolio. The portfolio aims to showcase the reading and writing of the local community, spark conversations about the community's heritage and future, and provide a place for residents to conduct and share discussions. It would have three layers: exhibits created by community members with expert assistance, collective reflections from online discussions, and individual contributions and reflections. The goal is to make the community's work visible, start conversations, and help develop 21st century literacies through social software and analogous to a museum or National Museum of the American Indian.
On Friday 30th June 2017 we held a special "Growing a stronger local democracy" event to celebrate the launch of our landmark report. This is our story so far, presented by our independent chair, Dr Andrew Mycock from the University of Huddersfield.
This document announces a weekend event to plan the Transeuropa Weekend festival across multiple European cities. The event will include discussions on developing economic alternatives and engaging young people in discussions on European citizenship. Participants will work on common activities, workshops, and an artistic program for the festival. They will also discuss communication strategies and design for promoting the transnational event. The document provides an agenda for the weekend with topics such as festival planning, a transnational walk, and next steps for the project.
Show your support for the New York City Housing Authority's (NYCHA) 43rd Annual Talent Show this spring! Perform on stage with fellow NYCHA residents, or cheer them on from the audience during this great community tradition. Get updates at http://studionycha.org
MATALA is a new experimental sound and performance space presenting the work of women of color artists. The inaugural event will feature video works from artists exploring their experiences through magical and transformative means. An interactive sculpture called "Rise" was created to project the video submissions and represent the strength found through community and diversity. The goal is to create an inclusive platform for marginalized artists across different communities and backgrounds to both share their work and see themselves reflected in others.
Sublime Galleria Presents Performance/Interactive Art at The Collection, UB Citymarching_ants
Sublime Galleria showcased performances and interactive art from Srishti School of Art, Design and Technology at The Collection in UB City. Several exhibits were featured for one evening only, attracting many art enthusiasts. A major attraction was the 'Tate: Global Art Space' exhibit, which was a collaboration between Indian and international artists. The exhibits included "Dynamic Geometries", "Performing Systems", "Story of Light", and "Sonic Beams". The director of Sublime Galleria praised Srishti School for their innovative art forms and supporting new artists.
"Wandering Ruins" by Becky Manson from Tate (UK)WeAreMuseums
Becky Manson was presented at We Are Museums 2014 the most recent Art Maps workshop, Wandering Ruins. Taking the recent Ruin Lust exhibition at Tate Britain as a starting point, participants used Tate’s online collection, locative media and a variety of digital content to create online trail experiences, via mobile devices. This collaborative project encourages both authors and users to explore the connections between landscape, landmark, art and a sense of place, as well as interrogating the what technology might add to and detract from this process.
The document discusses mainstream culture and popular culture. It defines mainstream culture as ideas and activities regarded as normal or conventional by most people. Popular culture is defined as the ideas and phenomena within western culture of the early to mid-20th century and early 21st century. Popular culture encourages monitoring and judging oneself and others. Marxists see subcultures as coping mechanisms in response to inequality caused by the ruling class. While individuals can participate in popular culture, the structures are controlled by others who encourage social hierarchies.
On the Road in the Deep South: A Collaborative Experiential Course in Social ...Susan Smith
This document summarizes a collaborative experiential course on social stratification that took students in the Deep South where they engaged in service learning projects and conducted oral histories. It discusses the course partnerships, service projects, media coverage, an embedded librarian program, and technology used including a wiki, blog and Flickr. It also lists post-trip impacts and selected resources on social stratification in the new/old South.
Extended Context/Extended Media Class 01Bryan Chung
This document provides an overview of the VASE7200 course, which focuses on extended context and media. It lists the course website, schedule, assignments, readings, and key topics that will be covered, including relational aesthetics, Fluxus, participatory art, information visualization, mediated perception, media architecture and social interaction. Examples of artists and works are also provided, such as those by Sol LeWitt, Yoko Ono, Harold Cohen, Jean Tinguely, Chuck Close, and others that relate to the course topics.
Juan J. Moreno has over 9 years of experience teaching art in various settings including community colleges, colleges, middle schools, and adult education. He holds a Master of Fine Arts degree from Western Connecticut State University and has a strong exhibition record in fine arts. Moreno also has experience working in a New York City curatorial role.
This document summarizes a meeting about representing hierarchical objects in Europeana using the Europeana Data Model (EDM). It discusses that EDM allows for hierarchical and relational representations that are important for modeling complex archival series, virtual exhibitions, and archaeological sites. The document provides mock-ups of how hierarchical objects could be represented and concludes by thanking attendees and providing contact information.
This panel discussion will explore the relationship between curators and artists, moderated by Mitchel Pilnick. The panelists include a studio program director, sculpture guild president, art-in-buildings director, and independent curator. They will discuss what curators look for in artists, how artists can best work with curators, and ways for artists to further their career and exposure. The event will take place on March 22nd at the National Arts Club in New York City.
This document discusses collecting and preserving internet art. It includes several quotes and summaries of papers on issues related to defining the art object for internet art, strategies for conserving software-based artworks, and applying a W3C model for provenance to internet art. It also lists collaborators on a research project about provenance for internet art and provides examples of specific internet artworks, such as Lynn Hershman Leeson's "Agent Ruby".
This document discusses the University of Alabama Libraries' transition from Dublin Core to MODS metadata standards for their digital collections. It describes how they mapped Dublin Core elements to MODS, developed workflows for processing metadata at scale using scripts, and created a public interface called Acumen to provide discovery of digital objects. The libraries learned that adopting metadata standards and using a flexible directory structure allowed them to implement new technologies and share records more broadly.
Claire Dienes, The Image Library, The Metropolitan Museum of Art presentation from VRA 28 Atlanta.
"After the Transition: Preserving Analog Legacy Materialat the Met" for the "After the Transition: Planning for Collections Storage & Workspace Changes in the Digital Environment" session.
Presented by Trevor Alvord at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico.
Session: Archival Collections Case Studies
The digitization of historic archival collections can present a daunting array of challenges. Often archives were collected with poor documentation and little information about the creators or contributors to the collection. The processing of these archival collections sometimes requires special subject area expertise due to the content or special staffing considerations due to the sheer size of the project. This session focuses on three cases in which archival collections are being processed. Each presenter will discuss the special challenges within their own institutions’ collection and the solutions they have developed in such areas as copyright, workflow, cataloging, and assembling expert teams.
MODERATOR: Heather Lowe, California State University San Bernardino
PRESENTERS:
• Trevor Alvord, James Madison University
“Delivering oral histories”
• Claire Dienes, Metropolitan Museum of Art
“A 35mm collection assessment & digitization initiative at The Metropolitan Museum of Art”
• Shalimar Fojas White, Dumbarton Oaks Research Library and Collection
“The Artamonoff Business: Using Collections Research for Outreach and Strategic Communication"
Presented by Elizabeth Berenz and Ann Burns at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico.
The Cataloguing Case Studies session will explore metadata migration, workflows, cloud computing, and tagging and how they can be applied to digital collections. Mary Alexander of the University of Alabama will present on the second of two migrations that have taken place at the University of Alabama Libraries and the importance of metadata schema and workflows in that process. Joshua Polansky of the University of Washington will describe his automated workflow using optical character recognition (OCR), Apple Automator, and Microsoft Excel to speed the process of collecting metadata for 75,000 digital assets. Elizabeth Berenz of ARTstor will look at the advantages of cloud based software for image management using Shared Shelf as a working example. And finally Ian McDermott will demonstrate the advantages of expert tagging and annotation in improving metadata. His presentation will focus on two ARTstor collections that could benefit from the knowledge of the larger ARTstor community: the Gernsheim Photographic Corpus of Drawings and the Larry Qualls Archive of contemporary art exhibitions.
MODERATOR:
Jeannine Keefer, University of Richmond, VA
PRESENTERS:
Mary Alexander, University of Alabama
Elizabeth Berenz, ARTstor
Ian McDermott, ARTstor
Joshua Polansky, University of Washington
Sarah Goldstein, Head of Digital Assets and Preservation Services, Mt. Holyoke College (formerly Visual Resources Curator, Vassar College) presentation from VRA 28 Atlanta.
"The Monolith Problem, or How Not to Phase Out Your Analog Slide Collection" for the "After the Transition: Planning for Collections Storage & Workspace Changes in the Digital Environment" session.
Stephanie Frontz presentation at the "How do we shelve it? The place for Vendor-provided electronic titles in art and architecture collections" session at the VRA + ARLIS/NA 2nd Joint Conference in Minneapolis, MN.
Art makes society an introductory visual essay.pdfShannon Green
This article discusses how art helps constitute social relations in four key ways:
1) Art creates sites for shared social interaction and participation.
2) People use art to create and assert models for social relations and represent social groups.
3) Art serves as cultural capital, marking members of society through shared knowledge or access.
4) Art can be used for exclusion or resisting authority, challenging power relations.
The article aims to move beyond viewing art as objects for individual aesthetic appreciation, and instead considers how art is integrated in cultural practices and social life.
Bex lecture 5 - digitisation and the museumBex Lewis
Lecture given on Thursday 6th May to first years on History module "Creating and Consuming History", encouraging them to think about the possibilities of digitisation in museums (the heritage sector/historical research), and the benefits and otherwise of some of the tools currently available.
This document provides an overview of digital humanities and discusses some key topics in the field. It summarizes that digital humanities explores how new technologies can be used to study the humanities in new ways, bringing both opportunities and challenges. Some areas of debate discussed include whether digital humanities is a tool or transforms humanities work, the role of quantitative analysis, and how critical approaches fit within digital humanities. Examples are given of digital projects exploring manuscripts, text analysis, and maps.
Mediating Media Art. Digital Visual Archives as Mediation-Toolsfwiencek
This document discusses strategies for mediating media art through digital visual archives. It begins by defining mediation and describing how meaning is generated in interactive media art and digital archives. It then examines four dimensions of meaning generation in digital visual archives: categorization, interactive processes, visualization and contextualization, and retrieval. Several examples of current mediation strategies are provided, including discourse-based, community-based, and institutional archives. The document concludes that digital archives have the potential to better preserve and mediate media art by connecting users and facilitating discussion. Further research into typologies of mediation strategies and multimodal analysis is suggested.
MATALA is a new experimental sound and performance space presenting the work of women of color artists. The inaugural event will feature video works from artists exploring their experiences through magical and transformative means. An interactive sculpture called "Rise" was created to project the video submissions and represent the strength found through community and diversity. The goal is to create an inclusive platform for marginalized artists across different communities and backgrounds to both share their work and see themselves reflected in others.
Sublime Galleria Presents Performance/Interactive Art at The Collection, UB Citymarching_ants
Sublime Galleria showcased performances and interactive art from Srishti School of Art, Design and Technology at The Collection in UB City. Several exhibits were featured for one evening only, attracting many art enthusiasts. A major attraction was the 'Tate: Global Art Space' exhibit, which was a collaboration between Indian and international artists. The exhibits included "Dynamic Geometries", "Performing Systems", "Story of Light", and "Sonic Beams". The director of Sublime Galleria praised Srishti School for their innovative art forms and supporting new artists.
"Wandering Ruins" by Becky Manson from Tate (UK)WeAreMuseums
Becky Manson was presented at We Are Museums 2014 the most recent Art Maps workshop, Wandering Ruins. Taking the recent Ruin Lust exhibition at Tate Britain as a starting point, participants used Tate’s online collection, locative media and a variety of digital content to create online trail experiences, via mobile devices. This collaborative project encourages both authors and users to explore the connections between landscape, landmark, art and a sense of place, as well as interrogating the what technology might add to and detract from this process.
The document discusses mainstream culture and popular culture. It defines mainstream culture as ideas and activities regarded as normal or conventional by most people. Popular culture is defined as the ideas and phenomena within western culture of the early to mid-20th century and early 21st century. Popular culture encourages monitoring and judging oneself and others. Marxists see subcultures as coping mechanisms in response to inequality caused by the ruling class. While individuals can participate in popular culture, the structures are controlled by others who encourage social hierarchies.
On the Road in the Deep South: A Collaborative Experiential Course in Social ...Susan Smith
This document summarizes a collaborative experiential course on social stratification that took students in the Deep South where they engaged in service learning projects and conducted oral histories. It discusses the course partnerships, service projects, media coverage, an embedded librarian program, and technology used including a wiki, blog and Flickr. It also lists post-trip impacts and selected resources on social stratification in the new/old South.
Extended Context/Extended Media Class 01Bryan Chung
This document provides an overview of the VASE7200 course, which focuses on extended context and media. It lists the course website, schedule, assignments, readings, and key topics that will be covered, including relational aesthetics, Fluxus, participatory art, information visualization, mediated perception, media architecture and social interaction. Examples of artists and works are also provided, such as those by Sol LeWitt, Yoko Ono, Harold Cohen, Jean Tinguely, Chuck Close, and others that relate to the course topics.
Juan J. Moreno has over 9 years of experience teaching art in various settings including community colleges, colleges, middle schools, and adult education. He holds a Master of Fine Arts degree from Western Connecticut State University and has a strong exhibition record in fine arts. Moreno also has experience working in a New York City curatorial role.
This document summarizes a meeting about representing hierarchical objects in Europeana using the Europeana Data Model (EDM). It discusses that EDM allows for hierarchical and relational representations that are important for modeling complex archival series, virtual exhibitions, and archaeological sites. The document provides mock-ups of how hierarchical objects could be represented and concludes by thanking attendees and providing contact information.
This panel discussion will explore the relationship between curators and artists, moderated by Mitchel Pilnick. The panelists include a studio program director, sculpture guild president, art-in-buildings director, and independent curator. They will discuss what curators look for in artists, how artists can best work with curators, and ways for artists to further their career and exposure. The event will take place on March 22nd at the National Arts Club in New York City.
This document discusses collecting and preserving internet art. It includes several quotes and summaries of papers on issues related to defining the art object for internet art, strategies for conserving software-based artworks, and applying a W3C model for provenance to internet art. It also lists collaborators on a research project about provenance for internet art and provides examples of specific internet artworks, such as Lynn Hershman Leeson's "Agent Ruby".
This document discusses the University of Alabama Libraries' transition from Dublin Core to MODS metadata standards for their digital collections. It describes how they mapped Dublin Core elements to MODS, developed workflows for processing metadata at scale using scripts, and created a public interface called Acumen to provide discovery of digital objects. The libraries learned that adopting metadata standards and using a flexible directory structure allowed them to implement new technologies and share records more broadly.
Claire Dienes, The Image Library, The Metropolitan Museum of Art presentation from VRA 28 Atlanta.
"After the Transition: Preserving Analog Legacy Materialat the Met" for the "After the Transition: Planning for Collections Storage & Workspace Changes in the Digital Environment" session.
Presented by Trevor Alvord at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico.
Session: Archival Collections Case Studies
The digitization of historic archival collections can present a daunting array of challenges. Often archives were collected with poor documentation and little information about the creators or contributors to the collection. The processing of these archival collections sometimes requires special subject area expertise due to the content or special staffing considerations due to the sheer size of the project. This session focuses on three cases in which archival collections are being processed. Each presenter will discuss the special challenges within their own institutions’ collection and the solutions they have developed in such areas as copyright, workflow, cataloging, and assembling expert teams.
MODERATOR: Heather Lowe, California State University San Bernardino
PRESENTERS:
• Trevor Alvord, James Madison University
“Delivering oral histories”
• Claire Dienes, Metropolitan Museum of Art
“A 35mm collection assessment & digitization initiative at The Metropolitan Museum of Art”
• Shalimar Fojas White, Dumbarton Oaks Research Library and Collection
“The Artamonoff Business: Using Collections Research for Outreach and Strategic Communication"
Presented by Elizabeth Berenz and Ann Burns at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico.
The Cataloguing Case Studies session will explore metadata migration, workflows, cloud computing, and tagging and how they can be applied to digital collections. Mary Alexander of the University of Alabama will present on the second of two migrations that have taken place at the University of Alabama Libraries and the importance of metadata schema and workflows in that process. Joshua Polansky of the University of Washington will describe his automated workflow using optical character recognition (OCR), Apple Automator, and Microsoft Excel to speed the process of collecting metadata for 75,000 digital assets. Elizabeth Berenz of ARTstor will look at the advantages of cloud based software for image management using Shared Shelf as a working example. And finally Ian McDermott will demonstrate the advantages of expert tagging and annotation in improving metadata. His presentation will focus on two ARTstor collections that could benefit from the knowledge of the larger ARTstor community: the Gernsheim Photographic Corpus of Drawings and the Larry Qualls Archive of contemporary art exhibitions.
MODERATOR:
Jeannine Keefer, University of Richmond, VA
PRESENTERS:
Mary Alexander, University of Alabama
Elizabeth Berenz, ARTstor
Ian McDermott, ARTstor
Joshua Polansky, University of Washington
Sarah Goldstein, Head of Digital Assets and Preservation Services, Mt. Holyoke College (formerly Visual Resources Curator, Vassar College) presentation from VRA 28 Atlanta.
"The Monolith Problem, or How Not to Phase Out Your Analog Slide Collection" for the "After the Transition: Planning for Collections Storage & Workspace Changes in the Digital Environment" session.
Stephanie Frontz presentation at the "How do we shelve it? The place for Vendor-provided electronic titles in art and architecture collections" session at the VRA + ARLIS/NA 2nd Joint Conference in Minneapolis, MN.
Art makes society an introductory visual essay.pdfShannon Green
This article discusses how art helps constitute social relations in four key ways:
1) Art creates sites for shared social interaction and participation.
2) People use art to create and assert models for social relations and represent social groups.
3) Art serves as cultural capital, marking members of society through shared knowledge or access.
4) Art can be used for exclusion or resisting authority, challenging power relations.
The article aims to move beyond viewing art as objects for individual aesthetic appreciation, and instead considers how art is integrated in cultural practices and social life.
Bex lecture 5 - digitisation and the museumBex Lewis
Lecture given on Thursday 6th May to first years on History module "Creating and Consuming History", encouraging them to think about the possibilities of digitisation in museums (the heritage sector/historical research), and the benefits and otherwise of some of the tools currently available.
This document provides an overview of digital humanities and discusses some key topics in the field. It summarizes that digital humanities explores how new technologies can be used to study the humanities in new ways, bringing both opportunities and challenges. Some areas of debate discussed include whether digital humanities is a tool or transforms humanities work, the role of quantitative analysis, and how critical approaches fit within digital humanities. Examples are given of digital projects exploring manuscripts, text analysis, and maps.
Mediating Media Art. Digital Visual Archives as Mediation-Toolsfwiencek
This document discusses strategies for mediating media art through digital visual archives. It begins by defining mediation and describing how meaning is generated in interactive media art and digital archives. It then examines four dimensions of meaning generation in digital visual archives: categorization, interactive processes, visualization and contextualization, and retrieval. Several examples of current mediation strategies are provided, including discourse-based, community-based, and institutional archives. The document concludes that digital archives have the potential to better preserve and mediate media art by connecting users and facilitating discussion. Further research into typologies of mediation strategies and multimodal analysis is suggested.
The document discusses how the political meaning of the term "liberal" has changed over time in the United States. Originally referring to ideas of liberty, freedom, and openness to new ideas, by the early 20th century "liberal" took on a political definition referring to using government to advance social and economic justice. Conservatives then began a counter-redefinition in the post-World War II era, attacking the term and associating it with statism and Marxism. By the 1980s and 1990s, "liberal" had become a largely negative term in American politics, narrowing the range of acceptable political viewpoints.
Art In Everyday Life Syllabus Spring 2016Bria Davis
This document provides information about an undergraduate course titled "Art in Everyday Life" taught in the spring of 2016. The course will examine art and aesthetics from a sociological perspective, considering how art relates to social and political realms. Topics will include the autonomy and politics of art, high and popular culture, and images in visual culture. Assignments include papers, presentations, and experiential exercises. The course will address art in public spaces, subcultures, advertising, and controversies over artworks. Readings and class meetings will explore these issues through theoretical frameworks and case studies.
This curriculum vitae summarizes the educational and professional experience of Michael Rectenwald. It lists that he received a PhD in Literary and Cultural Studies from Carnegie Mellon University in 2004, and has since held faculty positions at New York University, Pratt Institute, North Carolina Central University, and Duke University. It also provides a publication list of books and essays written by Rectenwald on topics related to literature, science, and secularism.
Lecture slides for MA Contemporary Art Theory and for MFA1 Studio students in the School of Art, Edinburgh College of Art.
http://www.eca.ac.uk/pdf/getCourse.php?id=88
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
Opening talk for the Introduction to Digital Humanities Workshop, at the Digital Humanities at Oxford Summer School 2015. Presented 20 July 2015 in St Anne's College.
The document discusses how digital technologies are transforming the arts and humanities. It provides examples of digital projects involving texts, images, databases, visualization tools, and more. These projects allow new forms of research, collaboration, access, and presentation compared to traditional humanities work. There is debate around whether digital humanities pursues traditional humanist goals in new ways or changes the nature of humanities work altogether.
Digital Humanities as Innovation: ‘constant revolution’ or ‘moving to the su...Andrea Scharnhorst
Andrea Scharnhorst & Sally Wyatt
Paper given at the "New Trends in eHumanities" Research Meeting of the eHumanities group, 4 June 2015
Digital Humanities as Innovation: ‘constant revolution’ or ‘moving to the suburbs’?
Roger Malina on A Historical Perspective on the Art-Sci-Tech fieldroger malina
Presentation given by Roger Malina on July 26 2014 at Kettle's Yard, Cambridge UK at
White Heat: art, science and
social responsibility in 1960s Britain
talk title is
The Leonardo Journal at 50_ networking the arts,sciences and technology now. The talk takes the person of Frank Malina, founder of Leonardo Journal as the springboard for a historical perspective
This curriculum vitae outlines the education and experience of Alexander Watkins, who is currently an Assistant Professor and Art & Architecture Librarian at the University of Colorado Boulder. It details his graduate degrees in Library and Information Science and History of Art & Design from Pratt Institute, as well as publications, presentations, teaching experience, and service to his institution and professional organizations.
The document discusses the concept of Relational Aesthetics, an artistic movement from the 1990s that focused on human interaction and social contexts. It examines works by artists like Rirkrit Tiravanija who created social situations in galleries through serving food. Other examples include Christine Hill's Volksboutique pop-up shops and Ben Kinmont's Waffles for an Opening project. The document explores how these works used human relationships and social frameworks as their medium rather than traditional art objects. It analyzes how Relational Aesthetics reflected issues of communication systems and consumerism in the late 20th century.
Some critics may have you believe that computer game studies lack theoretical rigor, that games cannot afford meaningful experiences. I agree with them, sometimes, but I also believe that a richer understanding of computer games is possible, and that this understanding can shed some light on related issues in the wider field of Digital Humanities.
My main area of research has been designing and evaluating how contextually appropriate interaction can aid the understanding of cultures distant in time, space, and in understanding to our own. This field is sometimes called Virtual Heritage. In Virtual Heritage, tools of choice are typically virtual reality environments, and the projects are very large in scale, complexity, and cost, while my projects are often prototypes and experimental designs. I have many challenges, for example, morphing technological constraints into cultural affordances, and avoiding possible confusion between artistic artifice and historical accuracy, all the while evaluating intangible concepts in a systematic way without disturbing the participants’ sense of immersion. To help me judge the success or failure of these projects I have shaped some working definitions of games, culture, cultural understanding, cultural inhabitation, and place. However, these concepts and definitions are not enough. I also have to now tackle the issues of simulated violence, artificial “other” people, the temptation of entertainment masquerading as education, and the difficulties inherent in virtually evoking a sense of ritual.
My lecture, then, is a discussion into how game-based learning, and the study of culture, heritage and history, might meaningfully intersect.
Digital Research – why we are here, what we have, what we can do for youJames Baker
This document discusses digital research projects at the British Library. It provides examples of past projects that analyzed large datasets using computational tools to gain new insights. These include analyzing misinformation spread on Twitter during a crisis and quantifying patterns of use in medieval manuscripts. The document emphasizes the potential for interdisciplinary, collaborative projects and notes the convergence of technology and culture in the emerging digital humanities field. Examples of current and potential future projects are also mentioned.
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: John J. Taormina
The Medieval Kingdom of Sicily Image Database project collects historic images of the medieval monuments of South Italy, from the so-called Kingdom of Sicily dating from c. 950 to c. 1430, during the Norman, Hohenstaufen, Angevin, and early Aragonese periods. The project was begun in 2011, as part of a 3-year Collaborative Research Grant from the National Endowment for the Humanities, under project investigators Caroline Bruzelius, Duke University, and William Tronzo, University of California, San Diego.
The site features over 8,000 historical images in a range of media, including drawings, paintings, engravings, photographs, and plans and elevations culled from museums, archives, and libraries in Europe and America, often from the Grand Tour, as well as from available publications. The value of the database lies in making accessible to scholars the visual documentation of changes to historical sites because the medieval monuments of South Italy have been damaged, changed, and restored on many occasions, with tombs and liturgical furnishings often destroyed, dismantled, or removed. In fact, many of the 600 monuments no longer exist, often bombed during World War II or destroyed in earthquakes, or obscured by modern buildings and urban sprawl.
VRA 2023 Archives Tools and Techniques session. Presenters: Maureen Burns and Lavinia Ciuffa
The Ernest Nash collection documents ancient Roman architecture in pre- and post-World War II Italy. What made Nash's work significant, beyond capturing the present state of the ancient Roman monuments at a volatile historical moment, was the primacy of the topographical photography and the systematic order he brought to this subject. The American Academy's Photographic Archive contributed Nash's images to an open access, interactive website called the "Urban Legacy of Ancient Rome." It reveals the city in stunning detail and uses geo-referencing to provide the viewer with a better understanding of the overall contextual and spatial logic. These Nash images and metadata are also IIIF compatible. As the Academy continues to digitize and describe the full collection of about 30,000 images, thanks to the generous support of the Kress Foundation, a new partnership has developed with Archivision and vrcHost. Current high quality digital photographs of the same ancient Roman monuments are being added to compare with the historical images documenting architectural changes--whether conserved, restored, altered, reconstructed, re-sited or destroyed. This presentation will provide a progress report about what it takes to move new digital photography into IIIF and the various tools available for close examination and presentation. Finding ways to provide ready access and juxtapose historic and contemporary photography online, builds upon the legacy of Nash's quality curation and scholarship to create 21st century, accessible, online educational resources of great interest and utility to scholars, students, and a wide audience of ancient Roman enthusiasts.
VRA 2023 Exploring 3D Technologies in the Classroom session. Presenter: Amy McKenna
Amy McKenna (Williams College) discusses her project that uses Photoshop and cardboard 3D glasses to recreate the 19th-century spectacle of a historic glass stereo collection.
VRA 2023 Keynote. Presenter: Melissa Gohlke
A historical record that focuses on white, heteronormative society and events obscures many facets of San Antonio history. Peel back the veneer of normalcy and one can find rich, diverse, and unexpected strands of the city’s past. From female impersonators of the early 1900s to queer life in derelict spaces during the 1960s and finally, gay and lesbian bar culture of the1970s and beyond, the hidden threads of San Antonio’s history reveal themselves. In this presentation, LGBTQ Historian Melissa Gohlke explores these hidden histories and stitches together an alternative interpretation of the city’s historical narrative by examining a wealth of primary sources found in archives and personal collections.
About the speaker:
Melissa Gohlke is an urban historian who specializes in San Antonio LGBTQ+ history. For over a decade, Gohlke has been researching queer history in San Antonio and South Texas and sharing her passion for this history through extensive outreach activities such as presentations, media interactions, exhibits, and written work. Gohlke is the Assistant Archivist for UTSA Libraries Special Collections.
About the VRA:
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: Mark Pompelia
Material Order is an academic consortium of material sample collections (including wood, metal, glass, ceramic, polymers, plastics, textiles, bio-materials, etc.—any material that might be used in or considered for art, architecture, and design disciplines) founded by the Graduate School of Design at Harvard University and Fleet Library at Rhode Island School of Design and now comprising several more institutions in the US. It provides a community-based approach to management and access to material collections utilizing and developing standards and best practices. Material Order created the Materials Profile that serves as a shared cataloging tool on the LYRASIS CollectionSpace platform and can be further developed as the different needs of consortium members are identified. Open Web searching across all collections occurs via a front-end discovery portal built with Wordpress at materialorder.org.
The Material Order project was born from the acknowledgment that resource sharing and collaborative catalogs are the most promising approach to exploration and implementation. It was always the intent, now actualized, for partner institutions with different mission and scope to compel the project to consider and accommodate criteria such as material health ecologies, fabrication possibilities, and overlap into adjacent fields such as engineering and archeology. Thus, Material Order represents not just items on a shelf but a knowledge-base of compositions, uses, forms, and properties. No longer in its infancy, Material Order provides a shared and adaptable framework for managing collections across the consortium and optimal facilitation of materials-based research and exploration for art, architecture, and design applications.
VRA 2023 New Frontiers in Visual Resources session. Presenters: Meghan Rubenstein and Kate Leonard
The Art Department at Colorado College is piloting a Personal Archiving program in select undergraduate studio courses that combines visual and digital literacy instruction with personal reflection and professional development. Meghan Rubenstein, Curator of Visual Resources, and Kate Leonard, Professor of Art, will discuss the drive behind this initiative to develop student competencies within a liberal arts setting. We will share our ongoing iterative process as well as select student activities and learning outcomes that may be adopted to various institutions.
VRA 2022 Teaching Visual Literacy session. Presenter: Molly Schoen
Our everyday lives are more saturated in images and videos than any other time in human history. This fact alone underscores the need to implement visual literacy skills in all stages of education, from pre-K to post-grad. Learning how to read images with critical, analytical eyes is crucial to understanding the world around us as we see it represented in the news, social media, advertisements, etc. New technologies have exasperated this already urgent need for visual literacy education. Synthetic media, deepfakes, APIs, bot farms, and other forms of artificial intelligence have many innovative uses, but bad actors also use them to fan the flames of disinformation. We have seen the grave consequences from this age of disinformation, from undermining elections to attempts to delegitimize science and doctors, undoubtedly raising the death toll from the COVID-19 pandemic. What do we need to know about these new forms of altered images made by artificial intelligence? How do we discern between real, human-made content versus fakes made by computers, which are becoming more and more difficult to discern? This paper aims to raise awareness of how new forms of visual media can manipulate and deceive the viewer. Audience participants will learn how to empower themselves and their peers into being more savvy consumers of visual materials by understanding the basics of AI and recognizing the characteristics of faked media.
VRA 2022 Individual Papers Session. Presenter: Malia Van Heukelem
This case study of a large artist archive at a medium sized academic research library will connect the success of the artist serving as his own archivist and the collection's broad research appeal locally, nationally and internationally. Like many artists, there is so much more than his own work represented. There is correspondence, fine art prints, ephemera of other artists and writers hidden in the collection. The foundation of organization is in place; now the focus is on creating online access points through finding aids and image collections. The presentation will explore the use of ArchivesSpace, Omeka, and other software to increase access. It will also demonstrate how a solo archivist can leverage interns, student assistants, and volunteers for collections management projects that benefit both the institutional priorities and desired learning outcomes. This talk will delve into the challenges of 20th century visual resource collections such as copyright and engagement with donors. Featuring a local artist has brought other art and architecture collections to the library, without clear boundaries which has led to questions of sustainability, who and what is collected. There is definitely a need to balance the historical record and yet, there are already more archival collections accessioned than can be responsibly managed by one person. The primary collection does include works by women and artists of color, yet much descriptive work remains to forefront the diversity contained within. As an archivist and librarian at a public university, there are many competing demands for collections management, support of researchers, and instruction plus the added interest for exhibition loans and the desire for other artists and architects to be represented. This artist archive is both interesting and complex.
This document summarizes an art history course titled "Pattern & Representation: Critical Cataloging for a New Perspective on Campus History" taught at Oklahoma State University. The course examines major developments in American art across different media from European contact through the mid-20th century. As part of the course, students are divided into groups to create digital exhibitions cataloging artworks from university newspaper archives between certain years. Students must include contextual information and link their entries to related articles. Their entries and a reflective essay are graded individually based on their work plan. The course introduces the concept of "critical cataloging" to bring social justice perspectives to archival and metadata work.
VRA 2022 session. Organizer/Moderator: Allan T. Kohl. Speakers: Virginia (Macie) Hall, Christina Updike, Marcia Focht, Rebecca Moss, Steven Kowalik, Jenni Rodda
During the past year, the “Great Resignation” (aka. The “Big Quit”) has roiled the world of employment nationwide in the wake of the COVID-19 pandemic, which had already caused job losses among our membership. While many institutions and individuals now hope for a “return to normal,” others anticipate that the past two years mark a watershed necessitating further transformational changes in the years ahead. These larger employment trends have come on top of quantum shifts in the visual resources field itself, as traditional tasks give way to new responsibilities, and siloed image collections are replaced by interdisciplinary projects.
For several years, our annual conferences have featured the perspectives of newer professionals in “Stories from the Start.” Looking at the opposite ends of their career arcs, this session brings together the perspectives and experiences of two pre-pandemic retirees, two of our members who made their decisions to retire during the past year, and two currently active professionals whose retirements are pending in the near future. When and why did they make their decisions to retire? What was/is the actual process? Concerns? What comes next after we leave our offices for the last time?
VRA 2022 Digital Art History session. Presenters: Melissa Becher and Samuel Sadow
In 2019, the art history program at American University gave its masters students a new option for the capstone project that is the culmination of the degree: create a digital project on an art historical topic using Omeka S or Wordpress. Initially, only a single student chose to complete a digital capstone over a traditional thesis, but within two years there was near parity between the two options, meaning seven digital capstones for the 2021 cohort. To support these projects, a close partnership quickly developed between the University’s library, the visual resources center, and the archives. This session covers how three campus units coordinate that support for these innovative digital humanities projects, including administration of the platforms, instruction, technical support, preservation, and access to the final projects. The session will also showcase examples of student work to demonstrate the variety and creativity of projects that can be accomplished using these platforms, as well as their contributions to the field of art history. The outcome of this initiative is clear: the best of digital humanities, weaving design and technology with rigorous art historical research, and finished projects that have already resulted in successful job applications in the field.
VRA 2022 Material Objects and Special Collections session. Presenters: Allan T. Kohl and Jackie Spafford
Materials-based collections represent a challenging new mode of information management in terms of subject specialization, physical description and accommodation, and institutional mission. Building upon the successful introductory meeting of this Group in Los Angeles at the 2019 Conference, the goal of this SIG is to provide a forum for open discussion of Material and Object Collections and their relationship to various library/visual resources tasks. The Material and Object Collections SIG provides an opportunity for individuals working with a variety of materials and objects collections – including those that support art and art history courses, those that support architecture and design courses, and those in cultural heritage organizations – to share ideas, issues, and potential solutions in regard to tasks similar to common library/visual resources activities (including cataloging, documentation, staffing, outreach), as well as more specialized concerns relating to the management of physical objects (security, storage and retrieval, the design of user spaces, etc.).
By continuing to offer an opportunity for participants to share brief introductions and profiles of their collections, we hope to encourage networking and exchange information about sources for specialized items; to display sample items and share surplus samples with other collections; and to provide examples of successful solutions to typical problems. Our long-range goal is to maintain an ongoing support group that can be of particular benefit to those professionals who are in the beginning stages of building or organizing physical collections.
VRA 2022 Digital Art History session. Moderator: Otto Luna
Exploration of visualization tools in the Digital Humanities/Digital Art History realm. Presenter: Catherine Adams
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Historians and Archaeologists. Presenter: Kayla Olson
Supporting Art History Students’ Digital Projects at American University. Presenters: Samuel Sadow and Melissa Becher
VRA 2022 Digital Art History session. Presenter: Kayla Olson
This paper discusses a study (completed in the spring of 2021) which explores how common the use of Qualitative Data Analysis software (QDAS) is among two kinds of object-based researchers: art historians and archaeologists. Surveys were disseminated in a snowball fashion and contained open and closed questions. The questions sought to give participants a platform to describe if, why, and how they use programs like Atlas.ti, NVivo, Dedoose, and MAXQDA throughout their research process. While not QDAS, the image management application Tropy was also included. The author hopes that the anonymized responses will prompt discussion among professionals in academic librarianship and visual resources management about the possible impact of these digital tools on researchers in these disciplines. The question remains on whether researchers in art and material culture disciplines would benefit more from QDAS if participants were aware of: 1) Their existence and 2) Their ability to help organize artifact data and to assist in performing image-based analysis.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenter: Ann M. Graf, Assistant Professor of Library and Information Science, Simmons University
In the field of information science, we strive to provide access to information through the most efficient means possible. This is often done through the use of controlled vocabularies for description of subjects, and, in the case of art objects, for the identification of styles, processes, materials, and types. My research has examined the sufficiency of controlled vocabularies such as the Art and Architecture Thesaurus (AAT) for description of graffiti art processes and products. This research is evolving as the AAT is responding to warrant for a broader set of terms to represent outsider art communities such as the graffiti art community. The methods used to study terminological warrant by examining the language of the graffiti art community are helpful to give voice to artists who work outside the traditional art institution, allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is hoped that this research will inspire others who design and supplement controlled vocabularies for use in the arts to give priority in descriptive practice to those who have been historically underrepresented or made invisible by default use of terminology that does not speak to their experiences.
VRA 2022 Session. Presenter: Douglas Peterson
In 2021, the National Archives of Estonia engaged Digital Transitions’ Service division, Pixel Acuity, to build an Artificial Intelligence (AI) tool to analyze part of its historic record. The objective was to use this tool to enhance their collection with descriptive metadata that identified persons of interest in a collection of over 8,000 photographic glass plate negatives, a task that would ordinarily take years of human labor. In this presentation, we discuss our approach to accurately detecting and identifying human subjects in transmissive media, our initial findings using commercially available AI models, and the subsequent refinements made to our workflow to generate the most accurate metadata. In addition to working with commercially available AI models, we developed strategies for validation of AI-generated results without additional human supervision, and explored the benefits of building bespoke, heritage-specific AI models. By combining all of these tools, we developed a highly customized solution that greatly expedited accurate metadata generation with minimal human oversight, operated efficiently on large collections, and supported discovery of novel content within the archive.
VRA 2022 Community Building Session. Presenter: Dacia Metes
Queens Memory is an ongoing community archiving program that engages with our local communities in our two-fold mission to (1) push local history collections out to the public through programming and online resources, and (2) pull new materials into our collections from the diverse communities of Queens, NYC. The COVID-19 pandemic forced us to close our buildings, cease all in-person work and programming and shift our work to the virtual world. Our team quickly modified our processing workflow and asset tracking with the high volume of crowd-sourced donations coming through new online submission forms, set up in a rapid response to capture the stories coming from the pandemic’s first epicenter in the U.S. In my proposed conference session, I will discuss how we planned and managed the shift to fully online collection development. I will talk about our virtual outreach efforts to engage with the community and get them to contribute their materials, and how we developed the online tools and processes that allowed us to collect photographs, oral history interviews and other audio/visual materials, while also capturing the necessary metadata and consent forms. New internal communications channels, roles for volunteers, and triage processing for publication resulted from these efforts and are now essential parts of the team’s practices.
The document summarizes a workshop on accessibility guidance for digital cultural heritage collections. The workshop consists of two hours which include presentations on accessibility requirements and workflow strategies, a breakout activity where participants practice creating accessible descriptions for images, and a wrap-up discussion. The presentations cover topics such as common barriers to accessibility, guidelines for making images, video, audio and documents accessible, and best practices for incorporating accessibility into workflows. The breakout activity has participants work in groups to write alt-text and accessibility descriptions for sample images from online collections.
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
How Barcodes Can Be Leveraged Within Odoo 17Celine George
In this presentation, we will explore how barcodes can be leveraged within Odoo 17 to streamline our manufacturing processes. We will cover the configuration steps, how to utilize barcodes in different manufacturing scenarios, and the overall benefits of implementing this technology.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
“Liberty of the Compiler”catalogue raisonné as metaphor for collaborative design
1. “ Liberty of the Compiler” catalogue raisonné as metaphor for collaborative design Adam Lauder W.P. Scott Chair for Research in e-Librarianship, York University
3. “ There is nothing fixed about the arrangement that we have given to the prints; we have the liberty of using them in the manner which seems most useful and agreeable or according to the genre which we embrace” –Gersaint, 1744
4. The artist is involved in project development as both collaborator and research subject—contributing both practical and creative insights through continuous cycles of dialogue.