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Books on the topic 'Digital technologies in art museums'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2015 Florence. Florence: Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-759-3.

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Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace – Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Technologies & Applications; New 2D-3D Technical Developments & Applications; Virtual Galleries – Museums and Related Initiatives; Access to the Culture Information. Two Workshops regard: International Cooperation; Innovation and Enterprise.

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2

Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2014 Florence. Florence: Firenze University Press, 2014. http://dx.doi.org/10.36253/978-88-6655-573-5.

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Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; EC Projects and Related Networks & Initiatives; 2D - 3D Technologies and Applications; Virtual Galleries - Museums and Related Initiatives; Access to the Culture Information. Three Workshops regard: International Cooperation; Innovation and Enterprise; e.Culture Cloud.

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3

Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2017 Florence. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-502-9.

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The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Sciences and Culture Developments and Applications; New Technical Developments & Applications; Museums - Virtual Galleries and Related Initiatives; Art and Humanities Ecosystem & Applications; Access to the Culture Information. Two Workshops regard: Innovation and Enterprise; the Cloud Systems connected to the Culture (eCulture Cloud) in the Smart Cities context. The more recent results of the Researches at national and international are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities.

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4

Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2018 Florence. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.

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The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Sciences and Culture Developments and Applications; New Technical Developments & Applications; Museums - Virtual Galleries and Related Initiatives; Art and Humanities Ecosystem & Applications; Access to the Culture Information. Two Workshops regard: Innovation and Enterprise; the Cloud Systems connected to the Culture (eCulture Cloud) in the Smart Cities context. The more recent results of the Researches at national and international are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities.

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5

Cappellini, Vito, and Enrico Del Re, eds. Electronic Imaging & the Visual Arts. EVA 2016 Florence. Florence: Firenze University Press, 2016. http://dx.doi.org/10.36253/978-88-6655-974-0.

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Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Science and Culture Developments & Applications; New Technical Developments and Applications; Museums - Virtual Galleries and Related Initiatives; Access to the Culture Information. An International Forum on “Culture & Technology” is enclosed. One Workshop regards: Innovation and Enterprise.

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6

Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2019 Florence. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-869-3.

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The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Science and Culture Developments & Applications; New Technical Developments & Applications; Cultural Activities – Real and Virtual Galleries and Related Initiatives, Access to the Culture Information. One Workshop regards Innovation and Enterprise. The more recent results of the Researches at national and international level are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities.

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7

Gwilt, Ian. MadeKnown: Digital technologies & the ontology of making. Ultimo, N.S.W: Faculty of Design, Architecture and Building, University of Technology, Sydney, 2006.

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8

Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2013 Florence. Florence: Firenze University Press, 2013. http://dx.doi.org/10.36253/978-88-6655-372-4.

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Important Information Technology topics are presented: multimedia systems, data-bases, protection of data, access to the content. Particular reference is reserved to digital images (2D, 3D) regarding Cultural Institutions (Museums, Libraries, Palace – Monuments, Archaeological Sites). The main parts of the Conference Proceedings regard: Strategic Issues, EC Projects and Related Networks & Initiatives, International Forum on “Culture & Technology”, 2D – 3D Technologies & Applications, Virtual Galleries – Museums and Related Initiatives, Access to the Culture Information. Three Workshops are related to: International Cooperation, Innovation and Enterprise, Creative Industries and Cultural Tourism.

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9

Arts et nouvelles technologies: Art vidéo, art numérique. [Paris]: Larousse, 2005.

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10

Parry, Ross. Recoding the museum: Digital heritage and the technologies of change. Abingdon, Oxon: Routledge, 2008.

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11

Sourd, Mathieu Le. Are the digital technologies leading to new forms of art?. London: LCP, 2003.

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12

Shehade, Maria, and Theopisti Stylianou-Lambert, eds. Emerging Technologies and the Digital Transformation of Museums and Heritage Sites. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-83647-4.

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13

Avant-garde performance: Live events and electronic technologies. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2005.

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14

Laforet, Anne. Le net art au musée: Stratégies de conservation des oeuvres en ligne. Paris: Questions théoriques, 2011.

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15

Fresko, Marc. Digital preservation guidelines: The state of the art in libraries, museums and archives. Luxembourg: European Commission, DGXIII/E-4., 1998.

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16

Organising Committee ICLAM 2011 and National Institute of Fashion Technology (New Delhi, India), eds. User empowerment through digital technologies: International Conference on the Convergence of Libraries, Archives, and Museums. New Delhi: Pragun Publication, 2011.

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17

Gant, Ma Luisa Bellido. Arte, museos y nuevas tecnologías. Gijón, Asturias: Trea, 2001.

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18

Le net art au musée: Stratégies de conservation des oeuvres en ligne. Paris: Questions théoriques, 2011.

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19

Mogens, Jacobsen, ed. Re_action: the digital archive experience: Renegotiating the competences of the archive and the (art) museum in the 21st century ; editor in chief, Morten Søndergaard; editors, Mogens Jacobsen and Morten Søndergaard. Denmark: Aalborg University Press, 2009.

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20

London College of Printing and Distributive Trades. BA MPD Art and Design History dissertation 1991: The Impact of Computer Animationand Digital Imaging Technologies upon the Evolution and Perception of Videographic Design. London: LCPDT, 1991.

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21

M, Thomas Lynne, ed. Special collections 2.0: Using new technologies to collect, describe, promote, and preserve rare books, manuscripts, and archival collections. Santa Barbara, Calif: Libraries Unlimited, 2009.

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22

Blom, Ina, Trond Lundemo, and Eivind Røssaak, eds. Memory in Motion. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789462982147.

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How do new media affect the question of social memory? Social memory is usually described as enacted through ritual, language, art, architecture, and institutions ? phenomena whose persistence over time and capacity for a shared storage of the past was set in contrast to fleeting individual memory. But the question of how social memory should be understood in an age of digital computing, instant updating, and interconnection in real time, is very much up in the air. The essays in this collection discuss the new technologies of memory from a variety of perspectives that explicitly investigate their impact on the very concept of the social. Contributors: David Berry, Ina Blom, Wolfgang Ernst, Matthew Fuller, Andrew Goffey, Liv Hausken, Yuk Hui, Trond Lundemo, Adrian Mackenzie, Sónia Matos, Richard Mills, Jussi Parikka, Eivind Røssaak, Stuart Sharples, Tiziana Terranova, Pasi Väliaho.

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23

Traviglia, Arianna, Lucio Milano, Cristina Tonghini, and Riccardo Giovanelli. Stolen Heritage Multidisciplinary Perspectives on Illicit Trafficking of Cultural Heritage in the EU and the MENA Region. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-517-9.

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It is a well-known fact that organized crime has developed into an international network that, spanning from the simple ‘grave diggers’ up to powerful and wealthy white-collar professionals, makes use of money laundering, fraud and forgery. This criminal chain, ultimately, damages and dissipates our cultural identity and, in some cases, even fosters terrorism or civil unrest through the illicit trafficking of cultural property.The forms of ‘possession’ of Cultural Heritage are often blurred; depending on the national legislation of reference, the ownership and trade of historical and artistic assets of value may be legitimate or not. Criminals have always exploited these ambiguities and managed to place on the Art and Antiquities market items resulting from destruction or looting of museums, monuments and archaeological areas. Thus, over the years, even the most renowned museum institutions have - more or less consciously - hosted in their showcases cultural objects of illicit origin. Looting, thefts, illicit trade, and clandestine exports are phenomena that affect especially those countries rich in historical and artistic assets. That includes Italy, which has seen its cultural heritage plundered over the centuries ending up in public and private collections worldwide.This edited volume features ten papers authored by international experts and professionals actively involved in Cultural Heritage protection. Drawing from the experience of the Conference Stolen Heritage (Venice, December 2019), held in the framework of the NETCHER project, the book focuses on illicit trafficking in Cultural Property under a multidisciplinary perspective.The articles look at this serious issue and at connected crimes delving into a variety of fields. The essays especially expand on European legislation regulating import, export, trade and restitution of cultural objects; conflict antiquities and cultural heritage at risk in the Near and Middle East; looting activities and illicit excavations in Italy; the use of technologies to counter looting practices.The volume closes with two papers specifically dedicated to the thorny ethical issues arising from the publication of unprovenanced archaeological objects, and the relevance of accurate communication and openness about such topics.

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24

1940-, Leopoldseder Hannes, Schöpf Christine, and Stocker Gerfried, eds. Ars Electronica, 1979-2004: The network for art, technology and society : the first 25 years = 25 Jahre Netzwerk für Kunst, Technologie und Gesellschaft. Ostfildern-Ruit [Deutschland/Germany]: Hatje Cantz, 2004.

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25

1946-, Kelsey John, ed. Furniture makers exploring digital technologies. Free Union, VA: Furniture Society, 2005.

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26

Giannini, Tula, and Jonathan P. Bowen. Museums and Digital Culture: New Perspectives and Research. Springer, 2019.

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27

Sculptural Photographs: From the Calotype to Digital Technologies. Taylor & Francis Group, 2018.

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28

Digital Media And Technologies For Virtual Artistic Spaces. Idea Group,U.S., 2013.

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29

Digital Technologies in Early Childhood Art: Enabling Playful Experiences. Bloomsbury Academic, 2017.

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30

Fiona, Cameron, and Kenderdine Sarah, eds. Theorizing digital cultural heritage: A critical discourse. Cambridge, Mass: MIT Press, 2007.

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31

Cameron, Fiona, Sarah Kenderdine, David Thorburn, Edward Barrett, and Jenkins Henry III. Theorizing Digital Cultural Heritage: A Critical Discourse. MIT Press, 2010.

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32

Fiona, Cameron, and Kenderdine Sarah, eds. Theorizing digital cultural heritage: A critical discourse. Cambridge, Mass: MIT Press, 2007.

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33

Cameron, Fiona, and Sarah Kenderdine. Theorizing Digital Cultural Heritage: A Critical Discourse. MIT Press, 2010.

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34

Museums In The Digital Age Changing Meanings Of Place Community And Culture. AltaMira Press,U.S., 2013.

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35

(Editor), Fiona Cameron, and Sarah Kenderdine (Editor), eds. Theorizing Digital Cultural Heritage: A Critical Discourse (Media in Transition). The MIT Press, 2007.

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36

Theorizing Digital Cultural Heritage: A critical discourse. Cambridge, Mass.: MIT Press, 2010.

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37

Museums In The Digital Age Changing Meanings Of Place Community And Culture. AltaMira Press,U.S., 2014.

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38

Joasia, Krysa, ed. Curating immateriality: The work of the curator in the age of network systems. Brooklyn, NY: Autonomedia, 2006.

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39

Christiane, Paul, ed. New media in the white cube and beyond: Curatorial models for digital art. Berkeley: University of California Press, 2008.

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40

Peter, Schwarz Hans, and Shaw Jeffrey, eds. Perspektiven der Medienkunst: Museumspraxis und Kunstwissenschaft antworten auf die digitale Herausforderung = Media art perspectives : the digital challenge : museums and art sciences respond. Karlsruhe: Edition ZKM, 1996.

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41

1981-, Tallon Loïc, and Walker Kevin 1966-, eds. Digital technologies and the museum experience: Handheld guides and other media. Lanham: AltaMira Press, 2008.

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42

Group, Primary Research, ed. The marketing of historic sites, museums, exhibits, and archives. [New York]: Primary Research Group, 2005.

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43

Julian, Sefton-Green, ed. Young people, creativity and new technologies: The challenge of digital arts. London: Routledge, 1999.

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44

Exploring Digital Technologies for Art-Based Special Education: Models and Methods for the Inclusive K-12 Classroom. Routledge, 2019.

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45

Radner, Hilary, and Alistair Fox. An Elegy for Cinema1. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0005.

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This chapter describes how Raymond Bellour in the twenty-first century enters into the on-going debates about the end of cinema that commenced in France in the late 1980s. The chapter underlines how he focuses largely on the changing shape and nature of the dispositif (or viewing situation, including the assumptions that a spectator brings to the viewing experience) in response to new technologies, with an emphasis on moving-image installation art shown in the museum or gallery. Whereas some scholars, such as Francesco Casetti, among others, have claimed that digital technologies and the proliferation of diverse viewing platforms mark a further development, a continuation of what was once cinema (and perhaps even the nineteenth century novel, the photo-roman, the comic book. etc.), Bellour sees these changes as constituting a fundamental break, an ontological shift in the nature of the medium. For Bellour, the dispositif – the apparatus, or physical setting and its technological and psychic potentiality for interaction, as well as the codes that inform this interaction, within which the viewer confronts and makes meaning out of a narrative, visual or otherwise – is fundamental to the experience of cinema and the ideas that it generates. This section offers an exploration Bellour’s understanding of these crucial changes, the implications of which animate discussions about contemporary media across the disciplines.

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46

How Can Digital Technologies Build a More Integrated Europe? Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748908111.

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Wie können digitale Technologien die Integration und den Wohlstand in Europa fördern? Seit Jahrzehnten ist die Digitalisierung die Speerspitze der wirtschaftlichen, politischen und sozialen Entwicklungen. Es ist klar geworden, dass ihre Auswirkungen die Gesellschaft umgestalten können – die Digitalisierung wirkt sich auf alle Bereiche der globalen Wirtschaft aus und verändert radikal die Art und Weise, wie z.B. Finanztransaktionen durchgeführt werden, wie Regierungen mit ihren Bürgern und die Menschen untereinander interagieren Angesichts des globalen Ausmaßes dieser digitalen Revolution wollen sich die Europäische Union und ihre Mitgliedstaaten den Herausforderungen der Digitalisierung stellen und ihre Vorteile fördern. Initiativen und Regelungen wie GDPR, SEPA, Horizont 2020 und der digitale Binnenmarkt sind nur einige der laufenden Projekte auf europäischer Ebene. Es bleibt jedoch klar, dass weitere Arbeit und Engagement in diesen Bereichen unerlässlich sind, um die Entwicklung innovativer Lösungen für die Probleme zu gewährleisten, die sich aus dem bedeutendsten globalen Wandel seit der industriellen Revolution ergeben.

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47

Ravetto-Biagioli, Kriss. Digital Uncanny. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190853990.001.0001.

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We are confronted with a new type of uncanny experience, an uncanny evoked by parallel processing, aggregate data, and cloud-computing. The digital uncanny does not erase the uncanny feeling we experience as déjà vu or when confronted with robots that are too lifelike. Today’s uncanny refers to how nonhuman devices (surveillance technologies, algorithms, feedback, and data flows) anticipate human gestures, emotions, actions, and interactions, intimating we are machines and our behavior is predicable because we are machinic. It adds another dimension to those feelings we get when we question whether our responses are subjective or automated—automated as in reducing one’s subjectivity to patterns of data and using those patterns to present objects or ideas that would then elicit one’s genuinely subjective—yet effectively preset—response. This anticipation of our responses is a feedback loop we have produced by designing software that studies our traces, inputs, and moves. Digital Uncanny explores how digital technologies, particularly software systems working through massive amounts of data, are transforming the meaning of the uncanny that Freud tied to a return of repressed memories, desires, and experiences to their anticipation. Through a close reading of interactive and experimental art works of Rafael Lozano-Hemmer, Bill Viola, Simon Biggs, Sue Hawksley, and Garth Paine, this book is designed to explore how the digital uncanny unsettles and estranges concepts of “self,” “affect,” “feedback,” and “aesthetic experience,” forcing us to reflect on our relationship with computational media and our relationship to others and our experience of the world.

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48

Sakane, Itsuo, Wolfgang Lehner, Scott Ritter, Wolfgang Winkler, Peter Higgins, Hans-Peter Schwarz, Horst Hortner, Siegbert Janko, Gustav Pomberger, and Hiroshi Ishii. Ars Electronica 1979-2004. Hatje Cantz Publishers, 2005.

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49

Kockelman, Paul. The Art of Interpretation in the Age of Computation. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190636531.001.0001.

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This book is about media, mediation, and meaning. It focuses on a set of interrelated processes whereby seemingly human-specific modes of meaning become automated by machines, formatted by protocols, and networked by infrastructures—that is, the way computation replaces interpretation, information effaces meaning, and infrastructure displaces interaction. The book asks: what does it take to automate, format, and network meaningful practices; what difference does this make for those who engage in such practices; and what are the stakes? Reciprocally it questions how can we better understand computational processes from the standpoint of meaningful practices; how can we leverage such processes to better understand such practices; and what lies in wait. In answering these questions, this book stays very close to fundamental concerns of computer science as they emerged in the middle part of the twentieth century. Rather than foreground the latest application, technology, or interface, it tries to account for processes that underlie each and every digital technology being deployed today. And rather than use the tools of conventional social theory to investigate such technologies, it leverages key ideas of American pragmatism—a philosophical stance that understands the world, and our relation to it, in a way that avoids many of the conundrums and criticisms of twentieth-century social theory. It puts this stance in dialogue with certain currents and key texts in anthropology and linguistics, science and technology studies, critical theory, computer science, and media studies.

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50

Vernallis, Carol, Amy Herzog, and John Richardson, eds. The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199757640.001.0001.

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This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization technologies, documentaries, and immersive theater to address myriad subjects such as the transition of cinematic discourses to digital production and distribution, the relations between screens and public space, and the shifting nature of noise within digital ecosystems. It also examines noise, droning, and silence as recurring themes in New Extremist films of Europe, along with temporal and generic anomalies by citing examples such as the Silent Hill videogame series, the performance/installation Sleep No More, and the poetics of David Lynch’s Inland Empire. In addition, the book discusses the translation of information into digital media, how music has both shaped and become embedded within the aesthetic culture of political conflict, the nature of “realism” in relation to new audiovisual media networks, and the accelerated aesthetics of networked mediascape and the ways in which they may be connected to contemporary labor and global capitalism.

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