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Shout LOUD on a road trip to FAIRness: experience with integrating open research data at the Bibliotheca Hertziana
Get PDFModern-day research in digital humanities is an inherently intersectional activity that borrows from, and in turn contributes to, a multitude of domains previously seen as having little bearing on the discipline at hand. Art history, for instance, operates today at the crossroads of social studies, digital libraries, geographical information systems, data modelling, and cognitive computing, yet its problems inform research questions within all of these fields, which veer towards making the output of prior research readily available to humanists in their interaction with digital resources. This is reflected in the way data are represented, stored and published: with various intra- and inter-institutional research endeavours relying upon output that could and should be shared, the notion of ‘leaving the data silo’ with a view on interoperability acquires even greater significance. Scholars and policymakers are supporting this view with guidelines, such as the FAIR principles, and standards, such as Linked Open Data, that implement them, with technologies whose coverage, complexity and lifespans vary. A point is being approached, however, where the technological opportunities permit a continuous interoperability between established and concluded data-intensive projects, and current projects whose underlying datasets evolve. This enables the data production of one institution to be viewed as one harmonically interlinked knowledge graph, which can be queried through a global understanding of the ontological models that dominate the fields involved. This paper is an overview of past and present efforts of mine in the creation of digital humanities knowledge graphs over the past decade, from music history to the societal ramifications of the history of architecture. This contribution highlights the variability of concurrent research environments at the Bibliotheca Hertziana, not only in the state of their activities, but also in the ways they manage their data life-cycles, and exemplifies possible combinations of FAIR data management platforms and integration techniques, suitable for different scenarios resulting from such variability. The paper concludes with an example of how feedback from the art history domain called for novel directions for data science and Semantic Web scholars to follow, by proposing that the Linked Open Data paradigm adopt a notion of usability in the very morphology of published data, thus becoming Linked Open Usable Data
Atmospheric pollution and human health in a Chinese megacity (APHH-Beijing) programme: final report
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‘Unearthing the legacies of art historiography during the Post-War decades’. Review of: A Socialist Realist History? Writing Art History in the Post-War Decadesedited by Krista Kodres, Kristina Jõekalda, Michaela Marek, Wien, Köln, Weimar: Böhlau Verlag, 2019, 279 pp., 35 b/w illustrations, ISBN 978-3-412-51161-6 (=Robert Born, Michaela Marek, Ada Raev: Das östliche Europa: Kunst und Kulturgeschichte, vol. 9)
Get PDFA Socialist Realist History? Writing Art History in the Post-War Decades, edited by Krista Kodres, Kristina Jõekalda, and the late Michaela Marek, is of definitive interest to art historians and scholars of intellectual history of Europe for giving insight into the diverse ways in which art and architectural historians across socialist Central and Eastern Europe engaged with Marxism-Leninism. The wide-ranging contributions reveal that even during Stalinism the discourse on Socialist art history was never static. Slow to modernize during the ensuing Thaw, this discourse evolved in diverse ways within different academic environments. The book makes a highly valuable contribution to the study of art historiography in socialist Europe, deepening our understanding of the complexity and processuality of the discipline’s development, and underlining the need for further in-depth studies. Apart from its interest to art historians, the contributions clearly express the need for a thorough revision of how deeply contemporary art historical research has been shaped by the socialist legacy, particularly with regard to less obvious path dependencies such as methodological approaches
Addressing the climate challenge
Get PDFIn 2021, colleagues from across the University of Birmingham community were invited to write articles about topics relevant to the COP26 climate change summit.
In this series of articles, experts from across many different disciplines provide new insight and evidence on how we might all understand and tackle climate change
Re-dressing the balance: Winckelmann, Greek costume and the Ideal
Get PDFThe paper explores the overlooked attention Johann Joachim Winckelmann gave to clothing and clothed statues. It engages with Winckelmann’s self-fashioning, the costume-based analysis through which he traced the cultural trajectory of antique peoples, and his descriptive and rhetorical passages on dress. It identifies the invisible and immaterial qualities which Winckelmann attributed to ‘tasteful’ clothing, and proposes that the elegance of Greek clothing was a signifier for the manifestation and transposition of perfect bodily form to the Greek ideal. This re-thinking seeks to address the focus on the Greek male nude figure as his emblem of ideal beauty and proposes that we should integrate draped statues as well as nude ones into Winckelmann’s historic and aesthetic framework
Crossing Borders to engage People through Art: Education and Outreach at Southampton City Art Gallery, 1974–2008
Get PDFSouthampton City Art Gallery is a much admired place of energy and activity. This article investigates the ambitious educational provision developed by Southampton’s art gallery for three decades from the appointment of its first Keeper of Education in 1974. It aims to record a significant moment in the history of UK museum education and to consider approaches that may be useful for museums today as they seek to re-connect audiences with art after a testing period of non-physical access due to the global pandemic. It shares new research undertaken for the exhibition, Creating a National Collection: The Partnership between Southampton City Art Gallery and The National Gallery (Southampton, 28 May-5 September 2021), the major outcome of an Art Fund Curatorial Traineeship project between the two institutions (2019–21)
Attic Grave Stelae, tr. Karl Johns
Get PDFOriginally published as ‘Attiske Gravmæler,’ Nordisk Tidskrift for vetenskap, konst och industri, 1896, pp. 27-45, reprinted: Udvalgte skrifter af Julius Lange, udgivne af Georg Brandes og Peter Købke, Andet bind, København: Det nordiske forlag, 1901, pp. 385-400
The “value of drawing” and the “method of vision”. How formalism and connoisseurship shaped the aesthetic of the sketch
Get PDFThis essay explores how connoisseurship and formalism from the late nineteenth until the middle of the twentieth centuries contributed to the study of drawing that characterised and shaped sketches as a particular subgenre. By focusing on reoccurring and recontextualised expressions, phrases, and notions used by Heinrich Wölfflin, Bernard Berenson, Max Friedländer, and Bernhard Degenhart, I will argue how drawings were either used to describe painting as a stepping stone for an epochal style or as a quasi-semiotic and graphological approach toward the genre that, in turn, favoured a specific aesthetic ascribed to the artist’s assumed personality. Moreover, the two genres were tied to a set of vocabulary that highlighted both their individual function and aesthetic, yet unfolded a methodologically problematic narrative
Sidelight on an unwilling grey eminence - Schlosser as ‘Schlüsselfigur’. A paper originally presented at the conference Viennese Art Historiography 1854-1938, University of Glasgow, 1-4 October 2009
Get PDFWhile Riegl, Dvořák, Sedlmayr and Pächt have each of them aroused widespread enthusiasm at one point or another, the same cannot be said of Julius Schlosser (1866-1938). To speak in general terms about his intellectual trajectory and its significance, one meets two questions, the first rather obvious, and the other quite opaque. Although he wrote and lectured in a style that was difficult, his arguments were consistent and perhaps predictable – a continuation of Wickhoff’s approach, and the principles upheld by the Institut für Geschichtsforschung, as well as something later called structure and system, which is most apparent today in his thoughts about what he called the language and grammar of art, but also in his study from 1889 of the original architectural layout of western European abbeys which is a very early example of a functional analysis. In the last decade or two of his life he seems by contrast to have made some generalizations apparently difficult to reconcile with his earlier devotion to the particularity of historical sources
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