Spatial (Digital) History: A Total Art History?—The A<scp>rtl@s</scp>Project

Joyeux-Prunel, Béatrice; Dossin, Catherine; Matei, Sorin Adam

doi:10.1080/01973762.2013.761119

Cited by 4 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Indeed, doubts as to the true possibilities of these emerging technologies have arisen. In spite of the increasing interest on both the process of globalization and the geography of art, to cite just two examples of the most active research fields, as well as the possibilities of the new technologies for these research goals (Joyeux-Prunel et al 2013), scholars remain skeptical of the prospects for these emerging technologies. Many previous works have dealt with the possibilities of digital tools for conservation and restoration.…”

Section: Data Generationmentioning

confidence: 99%

Culture, Technology and the Image

2020

View full text Add to dashboard Cite

This book engages with the impact of the pervasive spread of digital networked technologies on the way images are archived, circulated and understood. It follows on from a series by the organization Computers and the History of Art (CHArt). In 2005, Will Vaughan, one of CHArt's founding members, identified a 'revolution that affects all our activities and not one that simply leads to the establishment of a new discipline to set alongside others' (2005: 2). Among developments in social media at the time was the creation of YouTube. Other events that have had wide-ranging transformative effects from around the same period were the launch of Facebook and the formation of the company, Google. Anna Bentkowska-Kafel has proposed that, from within art history, there has been a tendency to understand the impact of digital technologies as creating a distinct discipline (2015: 59). To the extent this is true it leads to the impacts of technological changes being underestimated. Disciplinary cores are not immune from such developments. Engaging with the changes by proposing, for example, the emergence of digital art history could be seen as part of a 'formulaic assimilation of various "new art histories" that have largely expanded the ground of existing canons and orthodoxies rather than offering substantive alternatives to the status quo' (Preziosi 2009: 489). By contrast, the approach that inspired the inception of this volume sees technological developments, which affect the ways that images are disseminated and analyzed, as bringing about fundamental changes to the humanities that engage with the visual sphere.The core of the work gathered together in this volume was originally presented at conferences organized by CHArt to discuss the interaction between the study and practice of art and developments in information and communication technologies. It has been complemented by a selection of additional invited chapters that reflect an engagement with culture in terms of that which, 'contains an impulse toward action: it is what is "done and practiced" (Busche 2000: 70 cited in Krämer and Bredekamp 2013: 21). The focus is on the impact technologies have on the creation of knowledge and its communication through reciprocal relationships

show abstract

Section: Data Generationmentioning

confidence: 99%

Culture, Technology and the Image

2020

View full text Add to dashboard Cite

show abstract

Distant Viewing

Colwell,

King

2023

Art Documentation: Journal of the Art Libraries Society of Nort

View full text Add to dashboard Cite

Cartographie anachronique. Le premier plan rétrospectif de Paris par Jacques-Antoine Dulaure en 1821

Contandriopoulos¹

2020

captures

View full text Add to dashboard Cite

Cet article retrace l’origine des SIG historiques (ou systèmes d’information géographique historiques) au début du XIXe siècle en se concentrant sur une étude de cas, le Plan de Paris sous la domination romaine (1821) par Jacques-Antoine Dulaure. L’analyse visuelle et technique de ce premier plan rétrospectif est guidée par trois critiques issues du discours de l’époque : ce plan est une image pseudoscientifique, froide et trompeuse. Ces caractéristiques ambiguës sont approfondies pour mettre en lumière la persistance de certains enjeux théoriques tout en soulignant le potentiel de la cartographie rétrospective.

show abstract

Spatial (Digital) History: A Total Art History?—The Artl@sProject

Cited by 4 publications

References 0 publications

Culture, Technology and the Image

Culture, Technology and the Image

Distant Viewing

Cartographie anachronique. Le premier plan rétrospectif de Paris par Jacques-Antoine Dulaure en 1821

Contact Info

Product

Resources

About