Digital meets Culture

Save the date: 23-24 November 2020

Collect & Connect International conference: paper submission deadline extended to September 18 2020

This conference welcomes papers that present, discuss, and reflect upon the technical, social, and institutional challenges that experts and researchers in the field of digital heritage encounter when enriching heterogeneous digitized collections with context.

Thematic scope of the conference:

Many handwritten archives and collections of physical objects in the realms of natural history, archaeology, history, art history and science entail combinations of textual and visual elements whose interpretation requires a range of different expertise and computational technologies.
In recent years, libraries, archives and museums have spent major efforts on annotating and enriching their digitized collections with contextual information, in order to make them retrievable and interlinked in novel ways. Often institutions aim to enhance their reach and relevance for broader user groups. A major challenge in the field is the heterogeneous character of many such digital archives and collections.

The conference has twofold scopes:

To officially concludes the NWO/Brill Creative Industries Project Making Sense of Illustrated Handwritten Archives and presents the results of finished and original research in the field of digitized archives and natural and cultural heritage collections.
To promote exchange and discussion between researchers and heritage professionals in the field of digital natural and cultural heritage.

It is addressed to all experts in the field of:

Digital Humanities
Digital, Cultural and Natural Heritage
Digital Collection and Archives Curation
Semantic Data Integration

Six to eight papers presented at the conference are expected to be selected for publication in the ACM Journal of Computing and Cultural Heritage (JOCCH)

Submit your paper and join the conference! Collect & Connect will take place fully online. Registration will open later this month.

For more details see:
Full call for papers
Website international conference Collect & Connect: Archives and Collections in a Digital Age.
Project Making Sense of Illustrated Handwritten Archives
Follow Naturalis Biodiversity Center on Twitter for updates on the conference.

#shareyourknowlegde #collectandconnect

Save the date: 14-15 September 2020, Lublin (Poland)

International Scientific Conference: RUINS II – protection, use, management

Conference-call-Lublin The aim of the conference is to make a broad review of the problems related to the protection, conservation, use and management of historic ruins. The key assumption of the conference is comprehensive discussing the contemporary principles and forms of maintaining historic ruins in the historical, theoretical and practical aspects. The conference also aims to present and critically analyse the most interesting examples of contemporary protection, management and use of historic ruins. The results of RUINS project and the experience gained during project implementation will also be presented during the conference.
Three thematic sessions are planned within the conference:

1.Technical and conservation issues of the protection of ruins.
The topic of the “Protection” session are theoretical, conservation, technical and design issues related to the maintenance of the ruins. The speeches should refer to the principles and forms of maintaining the ruins from the point of view of architectural, conservation and landscape conceptions. The speeches regarding technical problems – methods and technologies – protection of crenelation and faces of walls, structural reinforcements, protection against water and moisture are also expected. The papers making a critical analysis of positive and negative examples of the protection of historic ruins are particularly welcomed.
2. Development of ruins for modern utility functions
The topic of the “Development” session is the critical presentation of the examples and forms of contemporary development, use and display of historic ruins. The speeches are expected to present various forms and aspects of Page 3 contemporary use of historic ruins – tourism, cultural events, exhibitions, commercial use, museum functions, etc. The presentations of the forms of utilisation that use and adapt themselves to the historical character of the ruin without interfering excessively with the historical substance and form are particularly welcomed.
3. Management of historic ruins
The topic of “Management” session is presentation of issues related to the management of ruins – i.a. form of ownership, organisation, financing, tourist traffic, organisation of events, promotion, education. The papers presenting the models and forms of ruins’ management that include all the aspects of such activities are expected. The papers presenting the modern best practice in historic ruins management are particularly welcomed.
Conservators, art and culture historians, employees of conservation services, specialists in the protection of cultural property, designers, representatives of local governments, university employees, owners and users connected with the protection, management and use of historic ruins are invited to participate in the conference.
The conference materials will be published in peer-reviewed periodical “Protection of Cultural Heritage” (in the issue 2/2020).
Contact: ruins@pollub.pl
Venue: Lublin University of Technology, Faculty of Civil Engineering and Architecture
Website: https://www.interreg-central.eu/Content.Node/RUINS/International-Scientific-Conferance-.html
Click here for Registration
Download the Conference programme
More information here

Join the online lecture series: September1-December 8 2020

New pilot project for ERIAC: Barvalipe Roma Online University

Bavarlipe Roma Online University is an online educational platform where Roma and non-Roma can access knowledge about the Roma identity(ies), history(ies) and culture(s) thorough a collection of high-quality lectures delivered by leading Roma scholars on topics ranging from the Roma Holocaust to Roma cultural productions. In partnership with Central European University (CEU), this project is part of ERIAC’s Roma Cultural History Initiative financed by the German Federal Foreign Office (FFO).
The course consists of 15 pre-recorded lectures; Each lecture is live-streamed on facebook and followed by open discussion with lectures, guests and audience members.
The series comprise a complete curriculum of Roma Cultural History that proposes a canon and acts as a reference for Roma cultural history.
The first lecture “Roma Identity, History and Historiography” by dr. Adrian Marsh is already available on Barvalipe Roma Online University’s webpage, on ERIAC’s website together with the list of next lectures.
Rosa Cisneros from C-DaRE of Coventry University (CU is REACH project Partner Coordinator) is involved in the initiative and will release her lecture on Romani Dance History next November.
More information on: https://eriac.org/barvalipe-roma-online-university/
ERIAC Facebook page
ERIAC Website: https://eriac.org/
CEU Website: https://www.ceu.edu/

Join the on line presentations and draw your Heritage!

Last updates from the international project“ Reconnecting with Your Culture”

The online webinar in Lima, Peru, last 31th July, has been a success with many people from different countries of Asia, Africa, Europe, and America.
The presentation is now available in Spanish, but very soon it will be published also the version in English and French.
Tomorrow, September the 2^nd , the promoters are expected for a new webinar in Colombia: https://meet.google.com/qdq-osza-sth
As already announced, the initiative is addressed to children and teenagers from 5 to 17 years old and aims at promoting the active participation of young citizen to the cultural heritage of their towns and cities with the goal to foster dialogue and social cohesion within the world.
What they have to do is to walk around the town, armed by a travel log, compass and drawing tools and draft an itinerary, taking notes and drawing what they see and what, in their opinion, is interesting and noteworthy.
The challenge is to turn themselves into explorers and to look for uncharted treasures. Once they have concluded with their research they will have the possibility to publish their discover: the map they build, the notes they take and their drawings will be the toolkit for sharing knowledge and culture with people around the world.
More information: https://www.digitalmeetsculture.net/article/the-new-international-project-reconnecting-with-your-culture/
Link to the presentation in Lima: http://esempidiarchitettura.it/sito/wp-content/uploads/2020/08/Recon%C3%A9ctate-con-tu-cultura-Lima.pdf
FB page: https://www.facebook.com/Reconnecting-with-Your-Culture-104395944694441
Here you can read an article in Italian, published after the presentation in Lima:
https://www.giornalediplomatico.it/Dal-Peru-il-futuro-riparte-da-cultura-e-giovani.htm
Instagram https://www.instagram.com/reconnectingwithyourculture/
EDA Webpage: http://esempidiarchitettura.it/sito/edakids-reconnecting-with-your-culture/
Facebook https://www.facebook.com/Reconnecting-with-Your-Culture-104395944694441/?modal=admin_todo_tour
Official contact: edakidsproject@gmail.com

online on 4 and 10 Septmebr 2020 h. 21 (Athens Greece time)

CENTAUR, one more premiere for ADAF ONLINE

The 16th international festival for digital arts of Greece, Athens Digital Arts Festival (ADAF), the pioneer longest living institution dedicated to digital culture in the country (est.2005), is launching the Online era and continues its daily activities presenting even more world premieres at ADAF ONLINE. It is the first Digital Art Online Streaming Festival held in Greece, and is announcing another premiere.

On September 4 and 10, 2020, ADAF ONLINE will present for the first time in Greece the show “Centaur” where artificial intelligence becomes part and actively participates in a kinetic show.

CENTAUR | A thought-provoking encounter between dancers and artificial intelligence.

Centaur examines the consequences of using artificial intelligence and the power of technology. The title ‘Centaur’, inspired by the half-horse half-human creature from Greek mythology, is also the name of a computer-science concept that elevates human qualities by combining artificial and human intelligence.

Great names as Pontus Lidberg (Dansk Danseteaters new artistic leader), Ryoji Ikeda (Japan’s leading electronic composer and visual artist), Cecilie Waagner-Falkenstrøm (expert artist of Artificial Intelligence), and the Royal Danish Ballet create Centaur – a visually appealing dance performance about the human tendency to project feelings onto machines. The purpose-designed artificial intelligence that can simulate a conscience, emotions and intentions, are both co-creators and the cast of the show.

To book your ticket for the Performance at September 4 press HERE
To book your ticket for the Performance at September 10 press HERE
The tickets are limited

Artificial Intelligence as Co-Creator and Participant

The AI called ‘David’, programmed exclusively for the performance, is both co-creator and participant in the performance. He influences choreographic composition based on different data sets such as planetary movements, swarm technology and the dancers’ movements that have been tracked and collected throughout the creative process. As a performer, he can simulate consciousness, emotion and intention and interacts with the dancers on stage. This means that each performance is a unique unpredictable event.

Man versus machine, creators versus their creation

Modern technology such as AI is everywhere in society. We are exposed to advertisements, feeds and news on social media that, through targeted algorithms, tailor content specifically for us. But how will an increasing use of AI affect our future? Will artists develop into hybrids – into centaurs?

Does artificial intelligence have feelings, consciousness and longing? Not yet. But it can already manipulate and seduce us by decoding feelings and moods. Centaur is a work full of strong imagery about the human consequences of artificial intelligence.

Could artificial intelligence abuse us in the future? And what consequences will that have for our compassion? Will we have to develop into hybrids – centaurs?

Live use of Artificial Intelligence as a ‘partner’ of the dancers, investing with the creation of a total work of art. Its participation will influence the dramaturgical structure, the choreography and the selection of the music.

ARTISTIC TEAM

Choreography / Direction: Pontus Lidberg
Audio and visual design: Ryoji Ikeda
Artificial Intelligence installation: Cecilie Waagner Falkenstrøm
Light Design: Raphael Frisenvænge Solholm
Writing / Dramaturgy: Adrian Guo Silver
Costume design: Rachel Quarmby-Spadaccini
Original Music: Ryoji Ikeda
Music: Franz Schubert, Giacomo Puccini & music created by Articifial Intelligence
Development: The Center for Ballet and the Arts at New York University
Co-Production: Danish Dance Theater co-produced with Oriente Occidente (IT), Théâtre National de Chaillot (FR), and The Royal Danish Theatre (DK).

Thank you for the generous support: Augustinusfonden, Overretssagfører L. Zeuthens Mindelegat, William Demant Fonden, Knud Højgaards Fond, Beckett-Fonden, Jyllands-Postens Fond.

Thank you Danish Institute at Athens

When : 4 & 10 September 2020, 21:00 pm
Length: 60’

Munch wasn't only a painter: a digital archive expands our knowledge about him

Edvard Munch’s writings

Text by Caterina Sbrana.

In August 2007 the Munch Museum set up a project related to Edvard Munch’s writings. The project was financed with funds from Arts Council Norway, the Fritt Ord (Freedom of Expression) Foundation, The Municipality of Oslo’s Kunstsamlingenes institutt for vitenskapelig forskning (KIVF), Ministry of Foreign Affairs, Tate Modern and The Municipality of Oslo via The Munch Museum.

A Digital Archive, which was the first phase of the project, was launched on 2011. The second phase provided for the translation of the texts of the famous Norwegian painter in English, Edvard Munch’s Writings in English (2011–2012). This phase concerned the translation of a selection of Munch’s writings equipped with commentaries and accompanied by supplementary articles and facsimiles of the originals.

Drawing with literary sketch. “I was walking along/ the road”. Inventory number MM T 2367. Photo courtesy of the Munch Museum, https://www.emunch.no//HYBRIDNo-MM_T2367.xhtml

I surfed the website of the museum to discover the literary role of Munch. In the presentation of the English edition we read about the project: “The selection consists of 68 separate archive objects from the museum’s collection.[…] A major part of the selection consists of the extensive literary notes from the notebooks and loose sheets, written between 1889 and 1892. These contain numerous drafts of autobiographical notes in prose, in the form of fragments for a novel and short stories; a number of prose poems that have parallel motifs in Edvard Munch’s imagery; and a number of philosophical reflections related to art. A selection of autobiographical literary notes from around 1902–1906 has also been translated”. The aim of the digital archive of Munch’s writings is to help disseminate to a broader public “knowledge about Munch’s central position within the modernist movement”.

“Edvard Munch’s literary sketches, prose, poems and notes related to art represent a wealth of material that not only serves to shed light on Munch’s significant artistic oeuvre, they also have literary qualities in their own right. The lyrical prose texts related to his own pictures provide a rich opportunity for immersion into his parallel artistic experimentation in words and images. Well-known examples are the several literary and visual versions of the Scream motif. All the known literary versions are included in this selection”.

Drawing with literary sketch. “I lived down in the depths”; Inventory number MM T 2908; Photo courtesy of the Munch Museum, https://www.emunch.no//T/full/No-MM_T2908-01.jpg

The digital archive contains digital facsimiles and encoded transcriptions of the original manuscripts. The transcriptions are reproduced diplomatically. This means that Munch’s own orthography is reproduced as accurately as possible, so “that all misspellings, cross outs and the length of the lines will be shown as they were originally written. In order to make the material searchable, it is encoded according to name, place and date. In addition, the publication is accompanied by commentaries, by art history and literary research topics, as well as links to relevant works by the same artist.

The majority of Munch’s texts – the literary journals and letters – are an essential part of his rhetorical emphasis on the inseparable connection between life and art. The artist’s own childhood experiences, romances, friendships and intrigues are constantly referred to in his broad range of writings”.

The web site has been developed by the Munch Museum. It is divided into two main sections; the first is a Norwegian language archive of Edvard Munch’s writings, and the second, an English translation concerning the selection of Munch’s literary sketches and writings related to art of which I have spoken.

The icons on the website are colour-coded in purple, green, red and orange to make clear what type of material we are dealing with. The sections represent respectively: Munch’s writing, Munch’s correspondence, The English edition, About the archive.

Drawing with literary sketch. “Your eyes are as large as half the sky”; Inventory number MM T 329; English translation of the poem by Francesca M. Nichols; Photo courtesy of the Munch Museum, https://www.emunch.no//TRANS_HYBRIDMM_T0329.xhtml.

The purple menu leads to the Norwegian archive of Munch’s own texts. The English translations are found in the red menu that also contains an introduction describing the edition, a list of comments (regarding excerpts, persons, institutions and places), articles and videos on relevant topics, as well as a search window that allows you to browse in the translated English texts. The orange menu contains guidelines (regarding transcriptions, encoding and photographic digitalisation), information about the digital archive as a whole, about the Munch Museum’s collection of Munch’s writings, and about the project behind the website, etc. All of the entries in the red and the orange menus are in English.

I was very impressed by the poems of Munch, known to the general public especially as a painter, and to browse the website is really an experience that I recommend to art lovers.

I believe that this project, from its first phase, is an excellent example of the promotion of digital culture through the creation of a digital cultural space, which through the Internet has a mass diffusion. The layout of the site is very simple but accurate in every detail and with a graphical interface that allows an easier visit. Personally I would call excellent my experience.

http://www.emunch.no/

https://www.emunch.no//english.xhtml

https://www.emunch.no//HYBRIDNo-MM_T2367.xhtml

https://www.emunch.no//TRANS_HYBRIDMM_T2367.xhtml

https://www.emunch.no//TRANS_HYBRIDMM_T0329.xhtml

Online via Zoom: conference on 10 February 2021; workshops across 8-12 February 2021

Digital Past Conference 2021

New technologies in heritage, interpretation and outreach

Organised by the Royal Commission on the Ancient and Historical Monuments of Wales, Digital Past is an annual two-day conference which showcases innovative digital technologies and techniques for data capture, interpretation and dissemination of the heritage of Wales, the UK and beyond.

Running for the twelfth year, in light of the uncertainty caused by COVID-19 Digital Past 2021 was held as an online conference via the Zoom platform. One day of presented talks on Wednesday 10 February was be supplemented by workshops across the week of 8 to 12 February 2021.

Bringing together individuals from the commercial, public, academic, third sector and voluntary sectors, the conference aims to promote learning, discussion and debate around a range of digital technologies in current use, or in development, to record and understand the historic environment.

New technologies in heritage, interpretation and outreach

Abstracts for conference main programme (PDF, 5 Mb)

Website: https://rcahmw.gov.uk/about-us/digital-past-conference/

Wednesday 10 February 2021: Conference
8-12 February 2021: Workshops
Online via Zoom

the Adoration of the Lamb now restored to its original aspect, and documentation from the restoration process is now published on Closer to Van Eyck website

Closer to Van Eyck: more to explore about the Ghent Altarpiece

images in the Closer to Van Eyck’s website: The Lamb of God on the central panel, from left to right: before restoration (with the 16th-century overpaint), during restoration (showing the van Eycks’ original Lamb from 1432 before retouching), after retouching (the final result of the restoration).

Since 2010, a number of initiatives and grants, including support from the Getty Foundation, have enabled actions for the restoration of the renowned polyptych of the Ghent altarpiece, a beautiful artwork by Hubert and Jan van Eyck (1432). The research enabling a careful plan for appropriate restoration included analysis and digitization of the painting at the highest quality, also by the means of advanced photo techniques such as microscopic examination, analysis of paint samples and cross-sections, X-radiography, infrared reflectography and dendrochronology. The conservation treatment has been captured in full through ultra-high resolution photographic and scientific documentation, and all these images can be accessed and studied on the dedicated website Closer to Van Eyck.

A major part of the painted panels have already been treated by a team of conservators from the Royal Institute for Cultural Heritage (KIK-IRPA, Brussels, Belgium) and other partners. A second phase of conservation was recently completed, and included the restoration of the eponymous Adoration of the Lamb, principally by removing the 16th-century overpainting and all the dirt which accumulated across time, thus finally revealing the Lamb’s human-like features as they were meant to be seen according to the artists’ representation. In August 2020 an update of the Closer to Van Eyck website made available the high-resolution images taken before, during, and after restoration so to allow art students, researchers and all the users to zoom-in and to compare the results.

The Closer to Van Eyck website is designed and developed by Universum Digitalis, Brussels.

Visit: http://closertovaneyck.be/

Read the full article by Alexandria Sivak on Getty’s blog