scholarly journals Digital Humanities for Academic and Curatorial Practice

2020 ◽  
Vol 3 (2) ◽  
pp. 117-121
Author(s):  
Angelica Federici ◽  
Joseph Chandler Williams
Keyword(s):  
Art History ◽  
Digital Humanities ◽  
Doctoral Studies ◽  
Heritage Sites ◽  
Experiential Approach ◽  
Curatorial Practice ◽  
History Of ◽  
Object Of Study ◽  
Sixth International

The Digital Humanities have challenged all disciplines of Art History to engage with new interdisciplinary methodologies, learn new tools, and reevaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital Humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites that cease to exist or are inaccessible (celebrated examples including the lost Great Arch of Palmyra reconstructed with a 3D printer). Curatorial practices are now trending towards a sensorial and experiential approach. Is the role of Digital Humanities, in academic as well in museum settings, to “reveal” the object itself, through an empirical display of existing material, or to “reconstruct” something of the original experience of the object to engage spectators? Can we propose a reconciliation between these two “poles”? The Sixth International Day of Doctoral Studies promoted by RAHN aims to investigate the role of Digital Humanities by fostering a dialogue between the protection of cultural heritage sites, museology, the history of art, and the digitalization of Big Data.

scholarly journals Historical stages in the formation of the scientific knowledge system in a theoretical and methodological context

2021 ◽  
Vol 5 (S2) ◽  
pp. 96-107
Author(s):  
Leonid Griffen ◽  
Nadiia Ryzheva ◽  
Dmytro Nefodov ◽  
Lyudmila Hryashchevskaya
Keyword(s):  
Modern Society ◽  
Specific Weight ◽  
Social Nature ◽  
The Social ◽  
Scientific Principles ◽  
History Of ◽  
Natural Result ◽  
Systemic Nature ◽  
Object Of Study

Current tendencies question the role of science in modern society, force returning to the processes of formation of the scientific paradigm. The latter was complex and nonlinear, and the formation of scientific principles of cognition was their natural result. Throughout human history, the knowledge about the objective world has been acquired and used in various, historically necessary forms – both in the methodology of cognition and in the method of systematisation, which was determined by the level of their accumulation. The accumulation of knowledge took place in different ways: in the process of direct practical activity, on the basis of supposedly “foreign” contemplation and as a result of conscious influence on an object of study (experiment) with their different “specific weight” at different historical stages. As for the systematisation, the need for which was determined by systemic nature of an object of knowledge and the social nature of knowledge, throughout the history of mankind its forms differed considerably, but, in the end, were reduced to three main ones. 

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

scholarly journals Linguistics in the digital humanities: (computational) corpus linguistics

2014 ◽  
Vol 30 (57) ◽  
pp. 20 ◽  
Author(s):  
Kim Ebensgaard Jensen
Keyword(s):  
Computational Methods ◽  
Computer Technology ◽  
Digital Technology ◽  
Corpus Linguistics ◽  
Digital Humanities ◽  
Intimate Relationship ◽  
History Of ◽  
The 1960S ◽  
Language Corpus

<p class="p1">Corpus linguistics has been closely intertwined with digital technology since the introduction of university computer mainframes in the 1960s. Making use of both digitized data in the form of the language corpus and computational methods of analysis involving concordancers and statistics software, corpus linguistics arguably has a place in the digital humanities. Still, it remains obscure and fi gures only sporadically in the literature on the digital humanities. Th is article provides an overview of the main principles of corpus linguistics and the role of computer technology in relation to data and method and also off ers a bird's-eye view of the history of corpus linguistics with a focus on its intimate relationship with digital technology and how digital technology has impacted the very core of corpus linguistics and shaped the identity of the corpus linguist. Ultimately, the article is oriented towards an acknowledgment of corpus linguistics' alignment with the digital humanities.</p>

Historical periods and styles of the Turkish-Islamic miniature art

2020 ◽  
Vol 2020 (10-3) ◽  
pp. 93-99
Author(s):  
Sabina Nematzade
Keyword(s):  
Art History ◽  
History Of ◽  
Historical Periods

The article deals with the place and role of the Turkic-Islamic miniature art in the art history of humanity, its historical stages and styles. The publication provides information on the well-known Turkic-Islamic miniature schools that play an important role in the development of this art.

Estētiskās zināšanas sabiedrības progresam: Leopolda fon Pecolda Rīgas perioda (1869–1879) ierosmes Baltijas mākslinieciskās kultūras attīstībā

Letonica ◽  
2020 ◽  
Author(s):  
Kristiāna Ābele
Keyword(s):  
Art History ◽  
Decisive Role ◽  
Aesthetic Appreciation ◽  
General Increase ◽  
Visual Expertise ◽  
Art Scene ◽  
Political Conservatism ◽  
History Of ◽  
The Baltic

“An ever thicker network is woven over the world, connecting every country with all the other countries […]. It is not a net that constrains but a system of liberation, like the telegraph and railway communications, as knowledge and skill make one free,” these statements appeared in 1877 in the newspaper Rigasche Zeitung, signed with the cryptonym –d. that was used by its editor-in-chief Leopold von Pezold (1832–1907) – Baltic German journalist, artist, art critic and deliberate champion of liberal ideas. From 1869–1879, Riga was the centre of Pezold’s versatile activities after an important period in Tallinn and before moving to Karlsruhe. In autumn 1869, this rising star of Baltic journalism succeeded John Baerens as the editor-in-chief of the largest newspaper in the Baltic provinces, Rigasche Zeitung, and his ultimate resignation from this post in the summer of 1879 was caused by his opposition to the political conservatism of the periodical’s new owners. Although political aspects of Pezold’s work at the Rigasche Zeitung have been discussed in Baltic German historiography since the 1930s, his contribution to the development of the art scene in Riga of the 1870s has been almost completely neglected in Latvian and foreign scholarship, contrasting the detailed analysis and appreciation of his decisive role in the artistic life of Tallinn of the 1860s as revealed by Estonian art historians. After the first outline as part of a general overview in Volume 3 of the Art History of Latvia (2019), this article continues to fill this gap, featuring Pezold as an inspiring agent of progress in his art criticisms and organisational activities, most closely related to the founding of the Riga Art Society (Kunstverein zu Riga, Rigascher Kunstverein) in 1870 and its major early achievements. Quite conventional in his own painting, Pezold stands out as a surprisingly modern visionary in his ideas about the means and functions of visual communication in the society of his time. He continuously reflected on the role of art and aesthetic appreciation as harmonising instruments of progress and emancipation, as well as recognising the role of new reproduction technologies for the general increase of visual expertise, circulation of images, sharing of knowledge, and building of networks in an extensive “community of art” beyond nations, classes and ethnic groups.

scholarly journals Digital Art History for the Masses? The Role of the Public Digital Art History Lab

2019 ◽  
pp. 196-213
Author(s):  
Ellen Prokop
Keyword(s):  
Art History ◽  
Digital Art ◽  
Computational Techniques ◽  
Massive Datasets ◽  
The Public ◽  
The North ◽  
History Of ◽  
Research Questions ◽  
The Masses

Digital Art History (DAH), which embraces massive datasets, innovative methodologies based on computational techniques, and collaborative paradigms, promises to offer new perspectives on the history of art. For example, DAH has the potential to shift the discipline’s focus from the traditional topics of inquiry to less explored aspects of the field—in short, to reposition the discipline’s central preoccupations with the issues of patronage, which are the concerns of the elite, to broader structures at work in a society, including the experiences of the marginalized. This displacement from center to periphery is not restricted to DAH research questions, but often applies to other aspects of DAH as well: to its status within the Digital Humanities (DH); to the demographic it frequently attracts; and to the infrastructure(s) developed to support it. Yet despite this potential, in many respects DAH occupies the periphery. This essay problematizes these issues as crystallized by the establishment of a digital art history lab at a privately funded library that serves the public, and explores one instance of how DAH has forced the North American academy to reflect further on the issues of privilege, access, and the future of art history.

THE PLEA ROLLS OF THE COURT OF COMMON PLEAS: AN UNUSED SOURCE FOR THE ART AND HISTORY OF LATER MEDIEVAL ENGLAND, 1422–1509

2015 ◽  
Vol 95 ◽  
pp. 157-210 ◽  
Author(s):  
Elizabeth A Danbury ◽  
Kathleen L Scott
Keyword(s):  
Fifteenth Century ◽  
Art History ◽  
Great Emphasis ◽  
Royal Court ◽  
History Of ◽  
Late Fifteenth ◽  
Land Inheritance ◽  
Insight Into ◽  
Contemporary Context

The court of Common Pleas was one of the most important courts in the English legal system for more than 600 years, until its abolition by Act of Parliament in 1873. The cases heard before this royal court were civil disputes between the king’s subjects, often relating to land, inheritance and debts. The purpose of this paper is to introduce readers to the ornament and imagery that appeared on the headings of the main records of the court of Common Pleas between 1422 and 1509 and to explore the origins and contemporary context of the images and representations employed by the clerk-artists who wrote and decorated these headings. The decoration they chose ranged from simple ornament to representations of plants, birds, animals and people. Great emphasis was placed on the role of the sovereign as the fount of justice, and this emphasis was reinforced by the incorporation of words and phrases, acclamations and verses from the Psalms chosen to underline the majesty and power of successive monarchs. The illustrations provide an important insight into the art, history and politics of late fifteenth-century England.

scholarly journals Artistic and stylistic features of men's costumes of the 1970s in R. Balayan's film "Flights in Dreams and Realities" (Polyoty vo sne i nayavu)

2021 ◽  
pp. 132-138
Author(s):  
Iryna Chubotina
Keyword(s):  
Art History ◽  
Cultural Context ◽  
Semantic Content ◽  
Clothing Design ◽  
Cultural Paradigm ◽  
Starting Point ◽  
History Of ◽  
World Cultural Heritage ◽  
Analytical Research

The purpose of the article is to reveal the artistic and stylistic features of men's costumes in R. Balayan film "Flights in Dreams and Reality" (Polyoty vo sne i nayavu) as significant for Ukrainian cinema and design of the 1970s-1980s. The proposed research contributes to the history of costume in cinema, considering it as an object of design in the context of the 1970s-1980s fashion, world and domestic cultural paradigm. Methodology. Work on the chosen topic involves the following theoretical methods: an analytical research method for generalization and delineation of issues; comparative analysis to identify the features of men's costume in cinema in the context of domestic and world cultural heritage; the art history method will serve to understand the contribution of the visual series in the film to modern design and culture in general. The scientific novelty of the study is to explain the correlation of men's costume in cinema and the fashion mainstream of the late 1970s - early 1980s on the example of the film "Flights in Dreams and Reality". It should be noted that previously the analysis of R. Balayan's work was primarily directed to find the origins of visual imagery and its semantic content; the place and role of costumes in his films, the socio-cultural context in which they were created were not previously considered in detail. Despite the numerous bibliography of materials devoted to the work of R. Balayan and especially "Flights…" (Может нужно было полное название "Flights in Dreams and Reality") which covered the most various artistic aspects, still such as an important component of R. Balayan's films as the costume has been practically ignored. Conclusions. Understanding of the role of costumes in domestic cinema on the example of the film "Flights in Dreams and Reality", which reflects not only the visual part of the film but also the cultural and artistic context of the film, gives a new starting point for studying the history of men's costume and its contribution to modern fashion. The laconism and harmony of figurative solutions of the 1970s experience their last years of popularity in the early 1980s, right before their disappearance, giving us an example of the perfect combination of simple form and deep filling, which can serve as an example to follow in modern men's clothing design.

scholarly journals ‘Inside’ the Tradition of the Śilpaśāstras: Introductory Remarks on the Historical Study of Indian Texts on Art

2004 ◽  
Vol 5 ◽  
Author(s):  
Valdas Jaskūnas
Keyword(s):  
Intellectual History ◽  
Art History ◽  
Historical Study ◽  
Intellectual Culture ◽  
Conceptual Systems ◽  
Indian Architecture ◽  
History Of ◽  
And Function ◽  
Indian Art

The article sets up to discuss the relevance of the tradition of art texts (śilpaśātras) to the understanding of Indian art. This tradition has been dealt with for almost two hundred years since the first translation of text fragments from the treatises on Indian architecture by Ram Raz. The recent researches in the field threw a new light upon the aspects of provenance and function of shilpashastric texts, as well as their relationship with the extant works of art. The context-based approach to Indian art, avoiding the mistakes made when the textual and art history studies were carried out simultaneously but very rarely coming into contact and enriching one another, enables us to explore anew the role of these texts within the tradition of Indian art. Nevertheless, the manner in which the conceptual systems of śilpaśātras and the artistic tradition actually interact - how thought and action affect one another - is not a question simple to answer. The main reason for lacking research on this interaction is a rather stylistic approach, which dominates art history and pays too little attention to understanding the idea and provenance of śilpaśātras. The present research does not look for an unambiguous answer to the question concerning the role of shastric tradition in the overall artistic culture; rather it attempts to frame a preliminary working hypothesis for further investigation with a more coherent gaze at one of most undeservedly neglected spheres of Indian intellectual culture, namely, shilpashastric tradition and the role it played in the intellectual history of India.

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