Though our society might be described as an image-society with a constant flow of pictures in private as well as professional life, the field of Art History and Visual Studies has only to a small extent turned to digital humanities for new research methodologies. One reason for that might be that digital tools for reading pictures are not as developed as those that process textual data. Analyses of tagging, labelling, meta-data and crowdsourcing are probably the most used strategies, which however not actually approach the images and the visual qualities as such. Another reason might be that much art in itself today are made through digital media – the archive, so to speak, is also the art work. Which are the topical questions around digital methods and visualisation for creating new understanding and new findings in Art History and Visual Studies? At this breakfast we read three text that in different ways approach the question of digital or digitalised images in relation to digital data, and by doing so they simultaneously start a discussion on what a (digital) image is and how research processes become intertwined in digitalization.
"Computer vision, human senses, and language of art," AI & SOCIETY, November 22, 2020, https://doi.org/10.1007/s00146-020-01094-9
"Non-representational approaches to modeling interpretation in a graphical environment"
Digital Scholarship in the Humanities, Volume 33, Issue 2, June 2018, Pages 248–263, https://doi.org/10.1093/llc/fqx034
“Paradata in Art-Historical Research: A Visualization of Piet Mondrian’s Studio at 5 Rue de Coulmiers”, Anna Bentkowska-Kafel, Hugh Denard, (et.al eds.), Paradata and Transparency in Virtual Heritage, Taylor and Francis, 2012 (pp. 109–124)