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A Tour of the NC Art Museum’s “Reunited: Francescuccio Ghissi’s St. John Altarpiece “

September 16, 2016

The North Carolina Museum of Art recently opened a new exhibition in collaboration with a Duke University research group, Image Processing for Art Investigation (IPAI), headed by Professor Ingrid Daubechies. A group from Wired! traveled to Raleigh to tour the exhibit with the museum’s head conservator, Bill Brown, and our own member of the project team, Ed Triplett. The exhibit tells the story of a fourteenth-century Italian altarpiece, its conservation, and scholars’ attempts to understand how it was made through modern recreation. In addition to the altarpiece itself, the narrative is shared with museum goers through digital models, videos, and material displays. Triplett contributed to a 3D digital rendering of the altarpiece that simulates how the altarpiece may have appeared at the time of its creation.

The exhibition will be open through March 5, 2017. Read more about the project’s development here.

Photos by Caroline Bruzelius & Lee Sorensen.

Published: Visualizing Venice Workshop Materials

September 1, 2016

We’re publishing our Visualizing Venice 2016 Summer Workshop materials online under a CC-BY-NC-SA 3.0 license. These include our schedule, slides, tutorials, and links to other resources. The site was edited throughout the workshop, and we’ve made only minor changes to its organization. (Remember, a messy desk is a sign of creativity.) We hope you’ll use these and share them with your students and colleagues! (Just remember to cite your sources.) Enjoy!

Access the Visualizing Venice: The Ghetto of Venice Website.

Read more about the Visualizing Venice Summer Workshop.

Back To School Tutorials for Teaching

August 24, 2016

It still feels like summer in Durham, but classes start next week. As we’re preparing our syllabi, we’re also pulling together resources for integrating tools like Omeka, TimelineJS, StoryMapJS, and others into our teaching. Here are a few of the new or updated guides we’ve just published. They are packed with basic how-tos, ideas for workflow and project management, tips and tricks for beginners and advanced users, and resources for learning more about how other scholars are making use of these tools. Use these to teach yourself and your students! Check out our Tutorials page for more guides and resources.

  • Build digital archives & exhibits with Omeka.net.
  • Create historical timelines collaboratively in TimelineJS.
  • Develop and share spatial narratives with StoryMapJS.

Questions or comments? Send them to hannah[dot]jacobs[at]duke[dot]edu.

Banner image sources: Omeka and The Knight Lab.

Archive of Visualizing Venice Workshop


What happened at the Visualizing Venice 2016 workshop? Check out our public archive of the event:

 

Wired! Students Receive Major Awards & Employment Opportunities

May 10, 2016

A number of the Wired! Lab’s graduate and undergraduate students have received external awards and employment opportunities. Here’s a little bit about what they’ll be doing this summer and post-Wired. Congratulations, all!

 

person-ElizabethBaltes-2015

Elizabeth Baltes is receiving her PhD in the History of Art. Her research focuses on the intersection of sculpture, politics, and space in the ancient world. Her work leverages digital visualization technologies, such as 3-D modeling and mapping softwares, not only as a means of representation, but also as a method of inquiry.

In August 2016, Elizabeth will begin a tenure-track appointment as Assistant Professor of Ancient Art History at Coastal Carolina University (Conway, SC). One of her duties will be spearheading the Ashes2Artinitiative, which transforms the undergraduate learning experience through on-site research and student-driven digital projects. Elizabeth’s training in the Wired! Lab—both in terms of her own research projects and working with undergraduate students—has prepared her well for leading this exciting digital program at CCU.

 


AnnieHaueter-2015

Annie Haueter is a junior majoring in Computer Science and minoring in Art History and Economics.

For this coming summer, she has accepted a position with Apple at their headquarters in Cupertino, California. She will be working as a Frameworks Quality Assurance intern beginning early May until late August, and her work will consist of writing code for automation projects for OS X, the operating system for Mac. Being from the San Francisco area herself, she is extremely excited to return home to work with such an innovative company.

Wired! had a part to play in her being awarded this opportunity. Throughout the interviewing process, one aspect of her resume always came up—her research at the Wired! Lab. Annie’s interviewers were truly interested in what the lab is doing, and as a computer science major, it was refreshing to be able to discuss some aspect of technology that did not revolve around strict coding and syntax. Instead, she was able to share her experiences collaborating with a team of dynamic thinkers who approach topics from outside of the box. Her particular work from this past semester has also largely revolved around problem solving, and as a member of the Apple QA team, she knows these skills will be put to good use this summer. Annie has learned so much through Wired!, and it’s all thanks to the initial research opportunity she was offered by Dr. Kristin Lanzoni almost three years ago. Annie looks forward to her internship with Apple, but she also looks forward to returning to the lab in the Fall to continue working with such a wonderful group of people.

person-ElisabethNarkin

 

Elisabeth Narkin is a candidate for the PhD in the History of Art and is currently writing her dissertation, which analyzes the manner in which the social life of the French court and royal family unfolded in the architectural spaces of châteaux located in and around Paris.

Elisabeth has been awarded a Carter Manny Research Fellowship from the Graham Foundation for Advanced Studies in the Fine Arts, whose mission is “to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society.” This year-long fellowship for academic year 2016-2017 provides support for her to continue working on her dissertation, “Rearing the Royals: Architecture and the Spatialization of Royal Childhood in France, 1499–1610.”

Working with Wired! over the years enabled her to ask different questions and to seek answers using digital technologies. She frequently use 3D modeling to understand the relative dimensions of royal apartments as well as to demonstrate how sixteenth-century residents moved between interior spaces. A chapter on the territoriality of the French royal children’s movements uses a series of ArcGIS maps to visualize over 2,500 days worth of travel records. These itineraries reveal that the royal family favored certain buildings under specific circumstances, each playing a distinct role in the network of residences. The corresponding interactive ArcGIS maps permit analysis of the frequency, range, and significance of the children’s travel, as well as changes over time.


person-JosephWilliams2

Joseph Williams is a Ph.D. candidate studying medieval architecture.

Joseph has been awarded a 2-year Pre-doctoral Rome Prize (Phyllis W. G. Gordan/Lily Auchincloss/Samuel H. Kress Foundation) starting in the fall of 2016, a fellowship that will allow him to work alongside a multidisciplinary community of artists, architects, and scholars at the American Academy in Rome. At the Academy, Joseph will continue his dissertation research on church architecture in 12th- and 13th-century Apulia, in southeast Italy, with a special focus on the circulation of specialized architectural knowledge during a period of growing trade and communications in the Mediterranean.

This project has benefitted in particular from two skills that Joseph developed through Wired! workshops and lab meetings. He will use photogrammetry–a technology that stitches together a three-dimensional point cloud from photographs of a space–to generate 3D and 2D drawings that accurately capture the variations in architectural knowledge brought to bear in the construction of churches, such as proportional geometry and stone-working techniques. Joseph will also create a Geographic Information System (GIS) to visualize the dissemination of building practices across time and space, and thereby better relate these patterns of circulation to environmental and historical conditions. Joseph will have the opportunity to hone his modeling and mapping skills by collaborating with architects, archaeologists, art historians, and social historians at the American Academy and at other international academies in the Eternal City.

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:

 

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With the support of:

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