Wired! at DH2016

July 12, 2016 — July 15, 2016

Kraków, Poland

The Wired! Lab will be making several appearances at the Digital Humanities 2016 conference in Kraków this summer! Here’s where you’ll find us:

 

Tuesday, July 12th

Digital Archiving & Storytelling in the Classroom with Omeka & CurateScape

Victoria Szabo, Hannah Jacobs, Ed Triplett

Time: 9:30 AM – 1:00 PM

This tutorial is an intensive introduction to archive development and storytelling within the Omeka content management and exhibition system. We will also demonstrate the use of the CurateScape framework, which allows users to create location-based itineraries drawn from Omeka items optimized for mobile devices. Over the course of the tutorial we will introduce participants to the principles of digital archive collection development using exercises developed for the Duke University Wired! Lab for Digital Art History & Visual Culture tutorials.

Friday, July 15th

The North Carolina Jukebox Project: Archives Alive and the Making of Digital Cultural Heritage

Victoria Szabo

Session: D22: Long Paper Session: Teaching DH, teaching with DH 2

Time: 11:30 AM – 1:00 PM

The North Carolina Jukebox project transforms an inaccessible audio archive from the 1930s, of historic North Carolina, USA folk music collected by Frank Clyde Brown, into a vital, publicly accessible digital archive and museum exhibition.Led by Trudi Abel, a librarian in the Rubenstein Special Collections Library at Duke University, and Victoria Szabo, a faculty member in Visual and Media Studies and Information Science + Studies at Duke, this interdisciplinary, collaborative effort also involves scholars in music and folklore, music and preservation librarians, digital media specialists, descendants of the original performers, and contemporary musicians who play this music professionally today.

 

Wired!: Collaborative Teaching & Critical Digital Making in an Art History Classroom

Hannah Jacobs

Session: D23: Short Paper Session: Teaching DH, teaching with DH 3

Time: 2:30 – 4:00 PM

In the Wired! classroom’s collaborative teaching model, a digital humanist takes on a significant role in both course planning and implementation. She works with instructors, graduate assistants, and librarians to redesign syllabi and assignments for preexisting departmental courses that incorporate not only digital tools but also critical methods. She then attends class meetings to familiarize herself with courses’ art historical content; she delivers workshops on digital concepts and tools; and she works with instructors and students to establish project workflows, to troubleshoot technical issues, and to critique student work. For students, this kind of collaboration can provide opportunities to make intellectual connections across two modes of inquiry as they apply digital methodologies to art historical topics. For instructors, this collaboration can enrich pedagogical practice as digital methods present different possibilities for student engagement.

More information about DH2016 | Full DH2016 schedule | DH2016 Book of Abstracts

Visualizing Venice: The Ghetto of Venice

June 8, 2016 — June 20, 2016

Venice International University, Venice, Italy

Instructors: Caroline Bruzelius, Mark Olson, Victoria Szabo (Duke University) TAs: Ludovica Galeazzo (University of Venice); Hannah Jacobs, Ed Triplett (Duke University)

Application deadline: March 31, 2016.

What is it about?

Digital Technologies for Historical and Cultural visualization are transforming the ways that scholars
can study and represent works of art, as well as growth and change in urban spaces and buildings. With the support of The Getty Foundation as part of its Digital Art History initiative, The Wired! Lab at Duke University, Università Iuav di Venezia, the University of Padua, and Venice International University are collaborating on a Summer Workshop that will train Art, Architectural and Urban Historians with the digital media that can enhance or transform their research questions and their capacity to communicate narratives about objects, places and spaces to the public.
Instruction will be in English.

The course will engage with the Ghetto of Venice on the 500th anniversary of its creation as case
study for training with a variety of technologies and applications. (On June 19th there will be the opening of an exhibition dedicated to the history of the Ghetto curated by Prof. Donatella Calabi).

 

Course description

The summer course will teach a range of digital skills in mapping, 3D modeling, mobile application
development, and time based media authorship to enable participants to engage historical questions with emerging digital tools. The technologies are taught through the use of a theme, which for the summer of 2016 is “The Ghetto of Venice”.
During the first week of the course participants will learn techniques for digital production by drawing
upon existing research materials. Each day, participants will learn about a different type of digital media production within the context of how that type of reconstruction is typically used in digital art and architectural history.
During the second week, the participants will work collaboratively to create projects using the tools they have learned, with the goal of creating high-quality, public-facing research products suitable for a general audience, as well as identifying potential areas to explore in their own future research.

 

Learning outcomes

Learning outcomes include: familiarity and facility with digital media production tools for digital art
and architectural history; awareness of the critical and practical challenges to the fields that digital
production techniques pose; understanding of the philosophical and theoretical underpinnings of digital
media authorship as an intervention into digital heritage and lived experience of the city.

 

Who can apply?

The workshop is designed for Ph.D or Post doctoral participants in the Interpretive Humanities (including Cultural Patrimony, History of Art, Architecture and Urbanism, History, Geography, Architecture, Archaeology, and other relevant disciplines).

Preference will be given to Ph.D. students and recent Ph.D. graduates in History of Art, Architecture and Urbanism.
Instruction will be in English, of which participants must have an adequate working knowledge.
Maximum number of participants: 16

 

Application form available here.

Program structure

The course duration is 12 days. Participants should expect to be engaged full time in during the twelve
days. Participants should plan to arrive June 7 and depart June 21.
Credits

An official Duke University/Università Iuav/Venice International University joint Certificate will be issued at the end of the course.
Number of ECTS credits allocated: 3

Duration and Period

12 days, June 8 – 20, 2016

Location

Venice International University on the island of San Servolo in the Venetian Lagoon is an ideal setting
for onsite study. Participants can live in the housing facilities of the island of San Servolo, or arrange for accommodation in the city of Venice.

 

Tuition and Scholarships

Tuition fees are euro 1,000 (+22%VAT).
Scholarships are available in order to support tuition, travel, board and accommodation expenses.
Thanks to the generosity of the Getty Foundation.
 
Contacts and info:

Venice International University
Isola di San Servolo
30133 Venice
ITALY
T +39 041 2719511
F +39 041 2719510
E shss@univiu.org , summerschools@univiu.org

http://www.univiu.org/shss/seminars-summer-schools/visualizing-venice-summer-workshop

 

View the 2015 workshop’s public archive. Download the PDF brochure.

 

Visualizing Venice summer workshop is organized by Venice International University and jointly promoted by:

 

alt            alt

 

With the support of:

Caroline Bruzelius Receives Dean’s Award for Leadership

May 2, 2016

This past week, our own Professor Caroline Bruzelius was awarded the Trinity College Dean’s Award for Leadership. Congratulations, Professor Bruzelius!

Professor Neil McWilliam’s speech from the award ceremony:

There are any number of reasons one might wish to honor a scholar as accomplished, dynamic and original as Caroline Bruzelius, but today we come together to recognize the extraordinary role she has played in promoting digital art history at Duke, and establishing the Wired! Lab as one of the country’s most active and innovative centers in this rapidly developing field. The Dean’s Leadership Award is intended to honor “a distinctive contribution to research, teaching and service”. In spearheading digital art history, Caroline has made signal contributions to the university in all of these areas. As a leading architectural historian of the medieval period, she took an early lead in recognizing the great potential of digital reconstruction of the built environment as a new and versatile research tool. She understood, too, the extraordinary potential of digital technologies as a pedagogical aid that encouraged students to pose searching questions of historical evidence and adapt it in engaging new ways.

Over the last few years, Duke students have constructed imaginary cathedrals, whose design is rooted in a detailed analysis of the techniques that shaped the great churches of Europe, they have rebuilt whole neighborhoods in Venice by directly engaging with archival and visual records, and they have used digital projections to restore color to the sculptural fragments displayed in the Nasher Museum. These, and many other projects promoted under the auspices of the Wired! Lab, are shining examples of what Duke does best. Caroline’s leadership as a teacher committed to new technologies has expanded opportunities for undergraduate research, and for collaborative investigation more generally, in an environment that is both deeply focused and expansively interdisciplinary. In the words of one of the department’s doctoral candidates: “Through her advocacy of digital innovation in art historical research, Dr Bruzelius has instilled in her students the value of cultivating an inner hunger for experimentation and teamwork. The bustling environment of the Wired! Lab encapsulates Dr. Bruzelius’s vision of “the future” of art history, one in which a research community thrives on the sharing of diverse technical expertise and critical perspectives.”

None of this could have been achieved without Caroline’s tireless commitment to the nuts and bolts of establishing and expanding a new initiative. Since the opening of the Wired! Lab in Smith Warehouse in 2010, Caroline has been hugely successful in attracting support from within and beyond the university, notably through Bass Connections, the Trent Foundation, Humanities Writ Large (Mellon), the Mellon, the Getty Foundation, the Delmas Foundation, the NEH, the Kress and others. Thanks to her energy, students and researchers at Duke enjoy outstanding facilities in a project-based humanities lab that provides a model for the university. The Wired! Lab has become a vibrant meeting place for students from all over campus—art historians, engineers, artists, computer scientists, documentarians, and others —and is forming a rising generation of thinkers who work together to produce new knowledge and share it with the public. As a former student remarks on the Wired! experience: “Not only did this form of teaching expose me to new-found information and histories, but it offered something much more that is vital to the learning process: a new form of decision making came to light. If scholarship and teaching is communication, Caroline was pushing the boundaries of how to reach her students and convey complex ideas in an engaging and innovative fashion.”

Caroline’s achievement is conspicuous in the bricks and mortar, the bits and bytes of the Wired! lab. It can be measured through the MA program she has established in Digital Art History, in the collaborations with other departments and international institutions, in the invitations by colleagues across the nation and beyond to share her ideas about the role of new technologies in art-historical research. Above all, though, Caroline’s achievement is rooted in her extraordinary personal qualities as a teacher, a colleague, and an example. There is, perhaps, no better way to sum up what true leadership might mean in a university than these words of one of Caroline’s undergraduate students: “Her enthusiasm is contagious, and her constructive criticism has made me a better writer and art historian. Dr. Bruzelius  spreads her affection to everyone in the department. She takes art history very seriously, but she doesn’t take herself too seriously. She is kind, generous with her time, and sincerely interested in what is going on in the department.” For all of these reasons, it is a privilege to introduce Caroline Bruzelius, Anne M. Cogan Professor of Art History, as recipient of the Dean’s Leadership Award for 2016.

Play the Venice Virtual World!

April 18, 2016

Wired! Lab (Smith | Bay 11 2nd Floor | Rm 266)

Imagine life in eighteenth-century Venice: a mission, intrigue, and an assassination attempt…

Members of the Duke community are invited to participate in user testing of the Venice Virtual World!

Contact XL93[at]duke[dot]edu to play.

This project, part of the Visualizing Venice collaborative research initiative, has recreated the life of Venice—its buildings, bridges, boats, gardens, and inhabitants—in a 3-D virtual environment. The focus is on the now completely transformed zone of the city around the train station. Using old maps, plans, and costume books, students have reconstructed Venice as it appeared in 1740. The outcome is a navigable virtual world with digital storytelling.

Visualizing Venice Workshop receives funding from The Getty

March 17, 2016

Venice, Italy

The Visualizing Venice workshop, an annual digital art history training opportunity for graduate students and early career scholars held at Venice International University, has been granted $140,000 by The Getty Foundation to support the 2016 summer institute. The Getty’s generous support enables the workshop to offer participants scholarship for tuition, travel, and accommodation.

The 2016 workshop will introduce a range of digital skills in mapping, 3D modeling, mobile application development, web technologies, and time based media authorship to enable participants to engage historical questions with emerging digital tools. The technologies are taught through the use of a theme, which for the summer of 2016 is “The Ghetto of Venice”. During the first week of the course participants will learn techniques for digital production by drawing upon existing research materials. Each day, participants will learn about a different type of digital media production within the context of how that type of reconstruction is typically used in digital art and architectural history. During the second week, the participants will work collaboratively to create projects using the tools they have learned, with the goal of creating high-quality, public-facing research products suitable for a general audience, as well as identifying potential areas to explore in their own future research.

Read more about the workshop or Apply Now!

Wired! at CAA 2016

February 3, 2016 — February 7, 2016

Washington, D.C.

**UPDATE 2/5/16: Check out the Wired! Lab Storify of #CAA2016.**

Find out when and where Wired! Lab faculty, staff, and students are presenting at the College Art Association:

Wednesday, February 3rd

A Signature Pedagogy for Art History in the Twenty-First Century

Time: 02/03/2016, 12:30 PM—2:00 PM
Location: Washington 1, Exhibition Level

Art Historians Interested in Pedagogy and Technology

Chairs: Nathalie N. Hager, University of British Columbia Okanagan; Sarah Jarmer Scott, Wagner College

Demonstration: Using a Neatline Syllabus in the Introductory Art History Survey
Caroline Bruzelius, Duke University; Hannah Jacobs, Duke University

Challenging the Canon: Using a Digital Platform for a Survey of World Architectures
Solmaz Mohammadzadeh Kive, University of Colorado Denver

The Implications of Augmented Reality in the Art History Curriculum: The Future of the Next Generation of Art Historians
R. Dean Turner, The Art Institute of Austin

 

Between the Ephemeral and the Virtual: Reactivating Art Installations through Digital Reconstructions

Time: 02/03/2016, 2:30 PM—5:00 PM

Location: Washington 5, Exhibition Level

Chairs: Laura Moure Cecchini, Duke University; Chiara Di Stefano, Independent Scholar

Blank Walls and Jarring Gaps: Reconstructing the Paris Salon du Louvre
Ryan L. Whyte, OCAD University

Virtual Histories: Reconstructing Boydell’s Shakespeare Gallery
Heather A. McPherson, University of Alabama at Birmingham

‘Re-construct them with the materials of your epoch’: 3D Printing Futurist Sculpture
Rosalind McKever, Metropolitan Museum of Art

“Demonstrationsraum”: Re-/Activating the Past and Present of El Lissitzky’s “Abstract Cabinet”
Yvonne Bialek, Braunschweig University of Art

Digitally Reactivating Museums for Expanded Disability Access
Michael Tymkiw, University of Essex

Discussant: Kristin Love Huffman, Duke University

 

Thursday, February 4th

Digital Cultural Heritage as Public Humanities Collaboration

Time: 02/04/2016, 2:30 PM—5:00 PM
Location: Washington 1, Exhibition Level

Chair: Victoria E. Szabo, Duke University

The Regium Lepidi Project 2200
Maurizio Forte, Duke University; Nevio Danelon, Duke University

Earthquakes, Volcanoes and Bombs. Restoring the Monumental Landscape of South Italy (The Kingdom of Sicily Image Database)
Caroline A. Bruzelius, Duke University

Experimenting with 3D Visualizations of the Lost 17th Century Labyrinth of Versailles
Copper Frances Giloth, University of Massachusetts

Mapping Ararat and Beyond: Augmented Reality Walking Tours for Imagined Jewish Homelands
Louis P. Kaplan, University of Toronto; Melissa Shiff, York University

MQUADRO: a Platform Model for Cultural Heritage
Stefania Zardini Lacedelli, Regole of Ampezzo, Cortina; Giacomo Pompanin, ADOMultimedia, Cortina

Playing the Scales: the Human Scale in Digital Data Visualization
Radu Leon, Ca’ Foscari University of Venice, Università Iuav di Venezia

Program in Interactive Cultural Technology (PICT): a Partnership between New Mexico Highlands University and the New Mexico State Department of Cultural Affairs
Kerry Loewen, New Mexico Highlands University

The Will to Adorn: African American Diversity, Style, and Identity
Diana Ndiaye, Center for Folklife and Cultural Heritage, Smithsonian

Discussant: Mark J.V. Olson, Duke University

 

Friday, February 5th

Procedural Art: Game Platforms for Creative Expression

Time: 02/05/2016, 3:00 PM—5:00 PM
Location: Thurgood Marshall Ballroom West, Mezzanine Level

This panel will focus on the design, aesthetics, and affordances of game platforms for new media art, as well as in critical approaches to this emerging genre. Participants will share projects that demonstrate the creative use of game platforms in fine art contexts, and in highlighting the full range of possibilities this new medium offers.

Moderators: Victoria Szabo, Duke University; Joyce Rudinsky, University of North Carolina at Chapel Hill

Participants:

Hye Young Kim, Winston-Salem State University
Soraya Murray, University of California, Santa Cruz
Paolo Pedercini, Carnegie Mellon University
Susana Ruiz, University of California, Santa Cruz
Myfanwy Ashmore, independent artist

[VIDEO] Digital Art History Symposium: Apps, Maps & Models

February 22, 2016

Nasher Museum of Art, Duke University

8:30am-6:30pm

event-20160222-DigitalArtHistorySymposium

UPDATE 2/23/16:

Missed the symposium? Watch the recordings and read the Twitter archive:

Morning session (9am-1pm EST) http://bit.ly/dah2016-morning 

Afternoon session: (2-5pm EST) http://bit.ly/dah2016-afternoon

Twitter archive: https://storify.com/dukewired/dah2016.

This one-day symposium will examine how digital tools prompt new approaches to teaching and research in art and architectural history, as well as in archaeology and visual studies. Databases, mapping, modeling, animations, and websites are also transforming the ways in which scholars and museums can communicate information to the public. Above all, digital tools stimulate entirely new types of research questions on the production and dissemination of works of art and material culture, the construction of buildings and cities, and issues of process and change over time.

The symposium provides an opportunity for the Wired! Group to reflect on its mission and to highlight the important digital work that is underway in many universities and museums across the country. We will hear about a variety of approaches to digital scholarship across a range of artistic periods and geographic areas in teaching, research, and museum displays from ancient through modern and in western and non-western art.

For more information and to register, visit http://sites.duke.edu/digsymposium/.

Read about the symposium’s press coverage: http://today.duke.edu/2016/02/digitalart.

Sponsored by the Department of Art, Art History & Visual Studies and the Wired! Lab.
With generous support from the Duke University Office of the Vice Provost for Research, Office of the Dean of Humanities, Office of the Vice Provost for the Arts, and the Nasher Museum of Art at Duke University.

Duke’s Spring Digital Workshops

January 12, 2016

Whether you’re a student, staff or faculty member, there are many opportunities to brush up your digital skill set this spring at Duke. Topics range from Microsoft Office to command line to HTML to 3D printing to data visualization and everywhere in between. Here are some workshop series you’ll want to check out:

Tools for Digital Scholarship & Teaching in Art, Art History & Visual Studies

Data & Visualization Services

Events at The Edge

Innovation Co-Lab roots/ Series

Research Computing

OIT Training

Henrietta Miers: Mapping Venetian Ceiling Paintings

December 16, 2015

Henrietta Miers

The Wired! Lab’s Master’s program in Historical & Cultural Visualization was begun in August 2014. Three students recently completed the program.

 

Tell us a little about yourself.

I am from Bronxville, New York, a one square mile town where I attended Bronxville High School. In 2010, I attended Princeton University and graduated in 2014 with a BA in Art History. I wrote my senior thesis on the art of the British Nigerian Artist Yinka Shonibare. At Duke, I wrote my MA thesis on sixteenth-century ceiling paintings in Venetian churches at a time of religious reform. I created an extensive database of 17 ceiling cycles consisting of two collections, about 350 items, 3 interactive maps, and 3 exhibitions. After graduation, I hope to work in a museum position and eventually get my Ph.D. in Art History.

Why did you choose to attend the MA in Historical and Cultural Visualization program?

First, I explored the projects the Wired! lab was working on, especially Visualizing Venice, and thought it would be great to work on the project and eventually write my thesis on a Venetian topic. Second, the idea of learning about how to digitize art history made me want to be part of the program because art history is constantly changing, and it is exceptionally useful to know how to utilize digital tools and programs such as SketchUp and Omeka (to name a few).

What is the most valuable skill or concept you have learned in the MA program?

The most valuable concept I learned is how powerful and important visualization is to the future of art history. Art history is constantly evolving, and digitization of this discipline is the direction it is heading, which is already evident in certain museums.

How do you see this MA advancing your career goals?

This MA degree will advance my career goals because the program gave me a skill set that I did not have prior to entering Duke. The MA allowed me to learn to code scenes with BabylonJS, design a website using HTML, build a windmill in SketchUp, and construct a database of about 350 items using Omeka. These are only a few of the things I was able to accomplish during this program, and I believe these skills will be useful for a museum position.

Henrietta is a member of the MA program’s inaugural graduating class. Her thesis is titled “Mapping All Above: Sixteenth-Century Ceiling Painting at a Time of Religious Reform.” During her time at Duke she worked on the Venice Interactive Visual Atlas (VIVA). She also worked on a class project, “Troyes Cathedral: Stained Glass” in which students recolored black and white images of a stained glass window as a way of showing how the medieval window, whose colors are now dimmed with the passage of time, may have first appeared. 

UPDATE: Henrietta is now employed at an art gallery in New York.

Wired! Goes Down Under

November 2, 2015 — November 5, 2015

Australia

Caroline Bruzelius

Professor Caroline Bruzelius will be traveling to Australia this coming week to speak in Sydney and Canberra on Wired! Lab projects:

 

Digital Approaches in the Study of Early-Modern Visual Culture

November 2-4, 2015

Canberra, Australia

Presented by the Australian National University and The Power Institute Foundation at the University of Sydney

Professor Bruzelius will present “The Kingdom of Sicily Image Database: Creating a Scholarly Resource”.

 

Recasting the Question: Digital Approaches in Art History and Museums

November 5, 2015

Sydney, Australia

Presented by The Power Institute Foundation at the University of Sydney and the Research School of Humanities and the Arts, Australian National University, with support from the Asia Art Archive.

Professor Bruzelius will deliver the keynote address, “Digital Thinking and Art History: Re-Imagining Teaching, Research, and the Museum”.

 

Image Credit


Related Projects

The Kingdom of Sicily Database