Interactive Topography with IIIF: Open Access to Photographs from the Ernest Nash Fototeca Unione Collection
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VRA 2023 Archives Tools and Techniques session. Presenters: Maureen Burns and Lavinia Ciuffa The Ernest Nash collection documents ancient Roman architecture in pre- and post-World War II Italy. What made Nash's work significant, beyond capturing the present state of the ancient Roman monuments at a volatile historical moment, was the primacy of the topographical photography and the systematic order he brought to this subject. The American Academy's Photographic Archive contributed Nash's images to an open access, interactive website called the "Urban Legacy of Ancient Rome." It reveals the city in stunning detail and uses geo-referencing to provide the viewer with a better understanding of the overall contextual and spatial logic. These Nash images and metadata are also IIIF compatible. As the Academy continues to digitize and describe the full collection of about 30,000 images, thanks to the generous support of the Kress Foundation, a new partnership has developed with Archivision and vrcHost. Current high quality digital photographs of the same ancient Roman monuments are being added to compare with the historical images documenting architectural changes--whether conserved, restored, altered, reconstructed, re-sited or destroyed. This presentation will provide a progress report about what it takes to move new digital photography into IIIF and the various tools available for close examination and presentation. Finding ways to provide ready access and juxtapose historic and contemporary photography online, builds upon the legacy of Nash's quality curation and scholarship to create 21st century, accessible, online educational resources of great interest and utility to scholars, students, and a wide audience of ancient Roman enthusiasts.
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History of Photography
C. Jabez Hughes �
: photography into three classes
• 1) Mechanical photography
• 2) Art photography
• 3) A photograph that can “instruct, purify and
ennoble.”
• Depiction vs imagination
• Objective description vs moral uplift
• Entertainment vs. Education
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Nadar (Gaspard-Félix Tournachon), Portrait of Charles Baudelaire, c. 1863.
3.7. Nadar, Panthéon Nadar, 1854. Lithographic print, George Eastman House,
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Nadar, pseudonym of
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(1820 - , 1910),
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and photographer.
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(1835)
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• 1) Mechanical photography
• 2) Art photography
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ennoble.”
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• Objective description vs moral uplift
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and photographer.
-best known for his
photographic portraits.
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3.9. Nadar, Theophilie Gautier, 1854-55. Albumen salted paper print, mounted on Bristol
board, Musee d’Orsay, Paris.
*Gautier: proponent of art
for art’s sake and author
of the novel about
Parisian bohemian life,
Mademoiselle de Maupin
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*the writer’s antagonism
toward the bourgeois.
*Nadar’s photographic
studio became a
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salon.
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Henry Peach Robinson, When Day’s Work is Done, 1877.
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Being Hints On Composition And Chiaroscuro For
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• Robinson, Henry Peach: “The Elements of a Pictorial
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Works cited
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Haler , Edward. Phoenix News and Events | Phoenix New Times. n.d. Web. 27 October 2016.
MacNair, David. Internships Education. n.d. Web. 27 October 2016.
Miller, Alfred. Free Children's Museum of Phoenix Coupons. n.d. Web. 27 October 2016.
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Phoenix Art Museum. Special Events at Phoenix Art Museum. n.d. Web. 27 October 2016.
Phoenix Museums: 10Best. Phoenix Museums: 10 Best Museum Reviews. n.d. Web. 27 October 2016.
Phoenix Police Museum. Phoenix Police Museum. n.d. Web. 27 October 2016.
Shannon , Mercy. Phoenix Art Museum - Experience Great Latin American, Modern, Contemporary, Asian, Fashion Design, Western And American Art & Culture In Downtown 2nd edition Phoenix, AZ. n.d. Web. 27 October 2016.
Shannon, Mercy. Experience Great Latin American, Modern, Contemporary, Asian, Fashion Design, Western and American Art & Culture In Downtown Phoenix, AZ. n.d. Web. 27 October 2016.
Student's Name;
Professor's Name;
Course;
Date
QUOTE
According to “Phoenix Art Museum". "The Phoenix Museum is one of the largest art museums in the world. Located in Phoenix Arizona the museum receives guests from all over the world annually".
Michael states that "The Phoenix Art Museum is one of the leading cultural institutions of the Southwest of the USA"
PARAPHRASES
Original Material:
"The Phoenix art Museum boasts American and Western American, European, modern and contemporary, Latin American and fashion design collections, as well as an Asian art collection "Phoenix Art Museum".
My Paraphrase:
According to "Phoenix Art Museum" The phoenix museum contains a variety of contemporary art pieces that range from American, Western American, and Latin America. The museum boosts a diverse range of art pieces that transcend continents and cultures.
Original Material:
The Phoenix arts community is at a tipping point in many ways. We are fortunate to have a diverse, bilingual, socially-aware and arts-focused community surrounding us that is active and increasingly involved and influential with what we do at Phoenix Art Museum. We have more than 50 arts and culture organizations in the City of Phoenix alone that include galleries, artist's coalitions, art-oriented centers, museums, studios and more.
My Paraphrase:
The museum's diversity has provided the community with a wide range cultural wealth that originates from different countries. The surrounding community of the museum has provided a wealth of resources such as bilingual speaking and has influenced the success of the museum.
SUMMARY
The article "Phoenix Art Museum" has provided a historical chronology of the museum from its inception to its current state as one of America's biggest museums. The writer of the article has elaborated the place of the museum in the art scene of the United States.
"16 B.
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Contenu connexe
Similaire à Interactive Topography with IIIF: Open Access to Photographs from the Ernest Nash Fototeca Unione Collection
VRA 2014 Case Studies in International Copyright, Ciuffa
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ORGANIZERS:
Cara Hirsch, Artstor
Allan Kohl, Minneapolis College of Art and Design (on behalf of the VRA Intellectual Property Rights Committee)
Vicky Brown, University of Oxford (on behalf of the VRA International Task Force)
MODERATOR:
Allan Kohl, Minneapolis College of Art and Design
Vicky Brown, University of Oxford
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• Matthias Arnold, University of Heidelberg (Germany)
• Vicky Brown, University of Oxford (United Kingdom)
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• Lavinia Ciuffa, American Academy in Rome (Italy)
• Marika Sarvilahti, Aalto University, Helsinki (Finland)
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This powerpoint accompanies the article "Bringing it to the People, Lessons from the Great Depression" about what museums did during the 1930s economic crisis. http://www.aam-us.org/pubs/mn/depression.cfm
moma_catalogue_2347_300062558.pdf
This document summarizes John Szarkowski's 1978 book "Mirrors and Windows: American Photography since 1960". It introduces Szarkowski's thesis that postwar American photography can be divided into two categories: photographs that act as mirrors, reflecting the artist's self-expression, and those that act as windows, allowing the viewer to better understand the world. The summary explores the decline of professional photography opportunities in magazines and industry since the 1950s, and how this shift toward personal expression changed the content and goals of American photography.
MFV LINKIN
The document provides a summary of Mary Vahey's education and work experience as an adjunct assistant professor teaching art history. She holds an M.A. in Art History from CUNY Queens College and a B.A. in Art History from the same institution. She has over 20 years of experience teaching art history as an adjunct at several universities. She also has related experience curating exhibitions and collections for museums, libraries, and design firms.
Hastac 2013 Talk: The Digital Berkeley Folk Music Festival & the Sonification...
This document discusses the Berkeley Folk Music Festival collection acquired by Northwestern University, which contains over 30,000 multimedia artifacts from the 1958-1970 Berkeley Folk Festivals. It focuses on developing digital tools to sonify images from the collection by analyzing visual parameters and translating them into sound. The goal is to use these sonification techniques to enable new ways of accessing, analyzing, and interpreting the archival material to uncover patterns and support discovery. An example tool is described that can pair visual elements of an image with corresponding aural parameters to sonify the image.
3rd Quarter ( ARTS).pptx
Here are the answers to the quiz:
1. Jacques-Louis David
2. Bertel Thorvaldsen
3. Antonio Canova
4. Jacques-Louis David
5. Jean Auguste Dominique Ingres
6. Temple Style
7. Palladian Style
8. Classic Block Style
9. Temple Style
10. Palladian Style
A History of Silicon Valley/ San Jose State Univ
This document provides a history of the development of high-tech industries in the San Francisco Bay Area from 1900-2010. It discusses the early development of electrical engineering and radio engineering industries in the area. It also summarizes the growth of computing technologies on the East Coast during this period and how Stanford University encouraged students to start tech businesses in the Bay Area in the 1920s-1950s, leading to the founding of companies like Hewlett-Packard. The document also notes how military funding drove growth in the Bay Area's electronics and semiconductor industries during World War II and the Cold War.
Ppt ch08 marien_4_e-205397
This document provides descriptions of 59 photographs from the early 20th century. The photographs cover a wide range of styles and subjects, including photomontages, portraits, landscapes, scientific images, advertising photographs, and documentary images. Many of the photographs are attributed to influential photographers and artists from the modernist era such as Moholy-Nagy, Kertész, Weston, and Man Ray. The photographs originate from collections around the world and represent a variety of photographic techniques including gelatin silver prints, photograms, and rayographs.
Works citedDreher, Tom. Phoenix Museums Arts & Culture in Phoe.docx
Works cited
Dreher, Tom. Phoenix Museums | Arts & Culture in Phoenix. n.d. Web. 27 October 2016.
Haler , Edward. Phoenix News and Events | Phoenix New Times. n.d. Web. 27 October 2016.
MacNair, David. Internships Education. n.d. Web. 27 October 2016.
Miller, Alfred. Free Children's Museum of Phoenix Coupons. n.d. Web. 27 October 2016.
Miller, James. History of the Phoenix Art Museum . n.d. Web. 27 October 2016.
Phoenix Art Museum. Special Events at Phoenix Art Museum. n.d. Web. 27 October 2016.
Phoenix Museums: 10Best. Phoenix Museums: 10 Best Museum Reviews. n.d. Web. 27 October 2016.
Phoenix Police Museum. Phoenix Police Museum. n.d. Web. 27 October 2016.
Shannon , Mercy. Phoenix Art Museum - Experience Great Latin American, Modern, Contemporary, Asian, Fashion Design, Western And American Art & Culture In Downtown 2nd edition Phoenix, AZ. n.d. Web. 27 October 2016.
Shannon, Mercy. Experience Great Latin American, Modern, Contemporary, Asian, Fashion Design, Western and American Art & Culture In Downtown Phoenix, AZ. n.d. Web. 27 October 2016.
Student's Name;
Professor's Name;
Course;
Date
QUOTE
According to “Phoenix Art Museum". "The Phoenix Museum is one of the largest art museums in the world. Located in Phoenix Arizona the museum receives guests from all over the world annually".
Michael states that "The Phoenix Art Museum is one of the leading cultural institutions of the Southwest of the USA"
PARAPHRASES
Original Material:
"The Phoenix art Museum boasts American and Western American, European, modern and contemporary, Latin American and fashion design collections, as well as an Asian art collection "Phoenix Art Museum".
My Paraphrase:
According to "Phoenix Art Museum" The phoenix museum contains a variety of contemporary art pieces that range from American, Western American, and Latin America. The museum boosts a diverse range of art pieces that transcend continents and cultures.
Original Material:
The Phoenix arts community is at a tipping point in many ways. We are fortunate to have a diverse, bilingual, socially-aware and arts-focused community surrounding us that is active and increasingly involved and influential with what we do at Phoenix Art Museum. We have more than 50 arts and culture organizations in the City of Phoenix alone that include galleries, artist's coalitions, art-oriented centers, museums, studios and more.
My Paraphrase:
The museum's diversity has provided the community with a wide range cultural wealth that originates from different countries. The surrounding community of the museum has provided a wealth of resources such as bilingual speaking and has influenced the success of the museum.
SUMMARY
The article "Phoenix Art Museum" has provided a historical chronology of the museum from its inception to its current state as one of America's biggest museums. The writer of the article has elaborated the place of the museum in the art scene of the United States.
"16 B.
Writing a Big Data History of Music
This document discusses using big data techniques to analyze bibliographical music datasets in order to uncover new narratives in music history. It outlines several large datasets that will be cleaned and analyzed, including catalogs of printed music and manuscripts. The goals are to pilot big data research methods on these datasets, make some datasets publicly available, and potentially challenge traditional music history narratives. Specific examples analyze printing trends over time and locations, and publications related to the composer Palestrina.
Library sources for art 1603 intro to photography
This document provides an overview of library instruction for an introduction to photography course at Texas Woman's University. It outlines the location of photography resources in the TWU Library and other libraries. It also discusses art databases, internet sources for photography, borrowing books from other libraries, citing photography sources, and local museums and galleries with photography collections.
Junior Fellows' Evening 2009
Presentation for the 2009 Junior Fellows' Evening at the Royal College of Music, by Katy Hamilton & Nick Wright
artists responses to institutional archives
paula roush presentation on artists responses to institutional archives
part of developing the digital image/ project 2, weeks 9 and 10, march 2011
Use and reuse
This document discusses the reuse and appropriation of materials from older structures in new construction throughout history. It provides several examples of how frescoes, marble, mosaics, columns, and other materials from ancient Roman buildings were reused in later periods. Specifically, it mentions how fragments from 1st century Roman buildings were incorporated into Baroque era palaces and churches and how a classical statue was installed in a public square in 15th century Rome and continues to be used for political messages today.
Abstraction
The document discusses abstraction in photography from the early 20th century onward. It explores how photographers began experimenting with unusual angles, framing, lighting, and camera techniques to abstract the visual elements in a scene and find new ways of seeing the world. Many photographers were influenced by abstract expressionist painting and explored abstraction through long exposures, photograms, manipulation of focus, and more.
Abstraction
This document discusses the history and development of abstraction in photography. It begins by explaining that abstraction emerged in the early 20th century as artists felt photography could represent reality better than painting. It then discusses influential abstract photographers like Moholy-Nagy and the Bauhaus school. Various techniques that produce abstract effects are covered, including camera angles, lighting, shutter speeds, photograms, and still life arrangements. The work of photographers Aaron Siskind and Ralph Eugene Meatyard is also summarized, focusing on their experimentation with abstraction.
Adolf Resume
Adolf Benca is a painter and artist based in New York City. He received his MFA from Columbia University and BFA from Cooper Union. Benca has had numerous solo and group exhibitions in galleries across the United States and Europe. His work is in the permanent collections of several major museums and he has received fellowships from the Pollock-Krasner Foundation, Fulbright Program, and New York Foundation for the Arts among others.
Similaire à Interactive Topography with IIIF: Open Access to Photographs from the Ernest Nash Fototeca Unione Collection (20)
VRA 2014 Case Studies in International Copyright, Ciuffa
VRA 2014 Case Studies in International Copyright, Ciuffa
Familifotografiet mellem det private og det kollektive
Familifotografiet mellem det private og det kollektive
Hastac 2013 Talk: The Digital Berkeley Folk Music Festival & the Sonification...
Hastac 2013 Talk: The Digital Berkeley Folk Music Festival & the Sonification...
Works citedDreher, Tom. Phoenix Museums Arts & Culture in Phoe.docx
Works citedDreher, Tom. Phoenix Museums Arts & Culture in Phoe.docx
Plus de Visual Resources Association
Comparative Study and Expansion of Metadata Standards for Historic Fashion Co...
Comparative Study and Expansion of Metadata Standards for Historic Fashion Co...Visual Resources Association
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.Unsettling Collections: Bias in the Visual Canon
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
The Medieval Kingdom of Sicily Image Database Project: From Concept to Reality
The Medieval Kingdom of Sicily Image Database Project: From Concept to RealityVisual Resources Association
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: John J. Taormina
The Medieval Kingdom of Sicily Image Database project collects historic images of the medieval monuments of South Italy, from the so-called Kingdom of Sicily dating from c. 950 to c. 1430, during the Norman, Hohenstaufen, Angevin, and early Aragonese periods. The project was begun in 2011, as part of a 3-year Collaborative Research Grant from the National Endowment for the Humanities, under project investigators Caroline Bruzelius, Duke University, and William Tronzo, University of California, San Diego.
The site features over 8,000 historical images in a range of media, including drawings, paintings, engravings, photographs, and plans and elevations culled from museums, archives, and libraries in Europe and America, often from the Grand Tour, as well as from available publications. The value of the database lies in making accessible to scholars the visual documentation of changes to historical sites because the medieval monuments of South Italy have been damaged, changed, and restored on many occasions, with tombs and liturgical furnishings often destroyed, dismantled, or removed. In fact, many of the 600 monuments no longer exist, often bombed during World War II or destroyed in earthquakes, or obscured by modern buildings and urban sprawl.Recreating a 19th-Century Spectacle: The 3D Glass Stereo Project
VRA 2023 Exploring 3D Technologies in the Classroom session. Presenter: Amy McKenna
Amy McKenna (Williams College) discusses her project that uses Photoshop and cardboard 3D glasses to recreate the 19th-century spectacle of a historic glass stereo collection.
Cradle of Texas Gay Liberty: An Alternate History of the Alamo City
VRA 2023 Keynote. Presenter: Melissa Gohlke
A historical record that focuses on white, heteronormative society and events obscures many facets of San Antonio history. Peel back the veneer of normalcy and one can find rich, diverse, and unexpected strands of the city’s past. From female impersonators of the early 1900s to queer life in derelict spaces during the 1960s and finally, gay and lesbian bar culture of the1970s and beyond, the hidden threads of San Antonio’s history reveal themselves. In this presentation, LGBTQ Historian Melissa Gohlke explores these hidden histories and stitches together an alternative interpretation of the city’s historical narrative by examining a wealth of primary sources found in archives and personal collections.
About the speaker:
Melissa Gohlke is an urban historian who specializes in San Antonio LGBTQ+ history. For over a decade, Gohlke has been researching queer history in San Antonio and South Texas and sharing her passion for this history through extensive outreach activities such as presentations, media interactions, exhibits, and written work. Gohlke is the Assistant Archivist for UTSA Libraries Special Collections.
About the VRA:
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments.
Material Order: A Discovery Group, Shared Catalog, and Research Platform for ...
Material Order: A Discovery Group, Shared Catalog, and Research Platform for ...Visual Resources Association
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: Mark Pompelia
Material Order is an academic consortium of material sample collections (including wood, metal, glass, ceramic, polymers, plastics, textiles, bio-materials, etc.—any material that might be used in or considered for art, architecture, and design disciplines) founded by the Graduate School of Design at Harvard University and Fleet Library at Rhode Island School of Design and now comprising several more institutions in the US. It provides a community-based approach to management and access to material collections utilizing and developing standards and best practices. Material Order created the Materials Profile that serves as a shared cataloging tool on the LYRASIS CollectionSpace platform and can be further developed as the different needs of consortium members are identified. Open Web searching across all collections occurs via a front-end discovery portal built with Wordpress at materialorder.org.
The Material Order project was born from the acknowledgment that resource sharing and collaborative catalogs are the most promising approach to exploration and implementation. It was always the intent, now actualized, for partner institutions with different mission and scope to compel the project to consider and accommodate criteria such as material health ecologies, fabrication possibilities, and overlap into adjacent fields such as engineering and archeology. Thus, Material Order represents not just items on a shelf but a knowledge-base of compositions, uses, forms, and properties. No longer in its infancy, Material Order provides a shared and adaptable framework for managing collections across the consortium and optimal facilitation of materials-based research and exploration for art, architecture, and design applications.Personal Archiving for Undergraduate Students
VRA 2023 New Frontiers in Visual Resources session. Presenters: Meghan Rubenstein and Kate Leonard
The Art Department at Colorado College is piloting a Personal Archiving program in select undergraduate studio courses that combines visual and digital literacy instruction with personal reflection and professional development. Meghan Rubenstein, Curator of Visual Resources, and Kate Leonard, Professor of Art, will discuss the drive behind this initiative to develop student competencies within a liberal arts setting. We will share our ongoing iterative process as well as select student activities and learning outcomes that may be adopted to various institutions.
Disinformation and Deepfakes: The Urgent Need for Visual Literacy
VRA 2022 Teaching Visual Literacy session. Presenter: Molly Schoen
Our everyday lives are more saturated in images and videos than any other time in human history. This fact alone underscores the need to implement visual literacy skills in all stages of education, from pre-K to post-grad. Learning how to read images with critical, analytical eyes is crucial to understanding the world around us as we see it represented in the news, social media, advertisements, etc. New technologies have exasperated this already urgent need for visual literacy education. Synthetic media, deepfakes, APIs, bot farms, and other forms of artificial intelligence have many innovative uses, but bad actors also use them to fan the flames of disinformation. We have seen the grave consequences from this age of disinformation, from undermining elections to attempts to delegitimize science and doctors, undoubtedly raising the death toll from the COVID-19 pandemic. What do we need to know about these new forms of altered images made by artificial intelligence? How do we discern between real, human-made content versus fakes made by computers, which are becoming more and more difficult to discern? This paper aims to raise awareness of how new forms of visual media can manipulate and deceive the viewer. Audience participants will learn how to empower themselves and their peers into being more savvy consumers of visual materials by understanding the basics of AI and recognizing the characteristics of faked media.
Jean Charlot: Artist as Archivist
VRA 2022 Individual Papers Session. Presenter: Malia Van Heukelem
This case study of a large artist archive at a medium sized academic research library will connect the success of the artist serving as his own archivist and the collection's broad research appeal locally, nationally and internationally. Like many artists, there is so much more than his own work represented. There is correspondence, fine art prints, ephemera of other artists and writers hidden in the collection. The foundation of organization is in place; now the focus is on creating online access points through finding aids and image collections. The presentation will explore the use of ArchivesSpace, Omeka, and other software to increase access. It will also demonstrate how a solo archivist can leverage interns, student assistants, and volunteers for collections management projects that benefit both the institutional priorities and desired learning outcomes. This talk will delve into the challenges of 20th century visual resource collections such as copyright and engagement with donors. Featuring a local artist has brought other art and architecture collections to the library, without clear boundaries which has led to questions of sustainability, who and what is collected. There is definitely a need to balance the historical record and yet, there are already more archival collections accessioned than can be responsibly managed by one person. The primary collection does include works by women and artists of color, yet much descriptive work remains to forefront the diversity contained within. As an archivist and librarian at a public university, there are many competing demands for collections management, support of researchers, and instruction plus the added interest for exhibition loans and the desire for other artists and architects to be represented. This artist archive is both interesting and complex.
Pattern and Representation: Critical Cataloging for a New Perspective on Camp...
Pattern and Representation: Critical Cataloging for a New Perspective on Camp...Visual Resources Association
This document summarizes an art history course titled "Pattern & Representation: Critical Cataloging for a New Perspective on Campus History" taught at Oklahoma State University. The course examines major developments in American art across different media from European contact through the mid-20th century. As part of the course, students are divided into groups to create digital exhibitions cataloging artworks from university newspaper archives between certain years. Students must include contextual information and link their entries to related articles. Their entries and a reflective essay are graded individually based on their work plan. The course introduces the concept of "critical cataloging" to bring social justice perspectives to archival and metadata work.Stories from the Stop (and Re-Start?): Visual Resources Professionals Face Re...
Stories from the Stop (and Re-Start?): Visual Resources Professionals Face Re...Visual Resources Association
VRA 2022 session. Organizer/Moderator: Allan T. Kohl. Speakers: Virginia (Macie) Hall, Christina Updike, Marcia Focht, Rebecca Moss, Steven Kowalik, Jenni Rodda
During the past year, the “Great Resignation” (aka. The “Big Quit”) has roiled the world of employment nationwide in the wake of the COVID-19 pandemic, which had already caused job losses among our membership. While many institutions and individuals now hope for a “return to normal,” others anticipate that the past two years mark a watershed necessitating further transformational changes in the years ahead. These larger employment trends have come on top of quantum shifts in the visual resources field itself, as traditional tasks give way to new responsibilities, and siloed image collections are replaced by interdisciplinary projects.
For several years, our annual conferences have featured the perspectives of newer professionals in “Stories from the Start.” Looking at the opposite ends of their career arcs, this session brings together the perspectives and experiences of two pre-pandemic retirees, two of our members who made their decisions to retire during the past year, and two currently active professionals whose retirements are pending in the near future. When and why did they make their decisions to retire? What was/is the actual process? Concerns? What comes next after we leave our offices for the last time?Supporting Art History Students' Digital Projects at American University
Supporting Art History Students' Digital Projects at American UniversityVisual Resources Association
VRA 2022 Digital Art History session. Presenters: Melissa Becher and Samuel Sadow
In 2019, the art history program at American University gave its masters students a new option for the capstone project that is the culmination of the degree: create a digital project on an art historical topic using Omeka S or Wordpress. Initially, only a single student chose to complete a digital capstone over a traditional thesis, but within two years there was near parity between the two options, meaning seven digital capstones for the 2021 cohort. To support these projects, a close partnership quickly developed between the University’s library, the visual resources center, and the archives. This session covers how three campus units coordinate that support for these innovative digital humanities projects, including administration of the platforms, instruction, technical support, preservation, and access to the final projects. The session will also showcase examples of student work to demonstrate the variety and creativity of projects that can be accomplished using these platforms, as well as their contributions to the field of art history. The outcome of this initiative is clear: the best of digital humanities, weaving design and technology with rigorous art historical research, and finished projects that have already resulted in successful job applications in the field.Material Objects and Special Collections
VRA 2022 Material Objects and Special Collections session. Presenters: Allan T. Kohl and Jackie Spafford
Materials-based collections represent a challenging new mode of information management in terms of subject specialization, physical description and accommodation, and institutional mission. Building upon the successful introductory meeting of this Group in Los Angeles at the 2019 Conference, the goal of this SIG is to provide a forum for open discussion of Material and Object Collections and their relationship to various library/visual resources tasks. The Material and Object Collections SIG provides an opportunity for individuals working with a variety of materials and objects collections – including those that support art and art history courses, those that support architecture and design courses, and those in cultural heritage organizations – to share ideas, issues, and potential solutions in regard to tasks similar to common library/visual resources activities (including cataloging, documentation, staffing, outreach), as well as more specialized concerns relating to the management of physical objects (security, storage and retrieval, the design of user spaces, etc.).
By continuing to offer an opportunity for participants to share brief introductions and profiles of their collections, we hope to encourage networking and exchange information about sources for specialized items; to display sample items and share surplus samples with other collections; and to provide examples of successful solutions to typical problems. Our long-range goal is to maintain an ongoing support group that can be of particular benefit to those professionals who are in the beginning stages of building or organizing physical collections.
Digital Art History
VRA 2022 Digital Art History session. Moderator: Otto Luna
Exploration of visualization tools in the Digital Humanities/Digital Art History realm. Presenter: Catherine Adams
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Historians and Archaeologists. Presenter: Kayla Olson
Supporting Art History Students’ Digital Projects at American University. Presenters: Samuel Sadow and Melissa Becher
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Histori...
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Histori...Visual Resources Association
VRA 2022 Digital Art History session. Presenter: Kayla Olson
This paper discusses a study (completed in the spring of 2021) which explores how common the use of Qualitative Data Analysis software (QDAS) is among two kinds of object-based researchers: art historians and archaeologists. Surveys were disseminated in a snowball fashion and contained open and closed questions. The questions sought to give participants a platform to describe if, why, and how they use programs like Atlas.ti, NVivo, Dedoose, and MAXQDA throughout their research process. While not QDAS, the image management application Tropy was also included. The author hopes that the anonymized responses will prompt discussion among professionals in academic librarianship and visual resources management about the possible impact of these digital tools on researchers in these disciplines. The question remains on whether researchers in art and material culture disciplines would benefit more from QDAS if participants were aware of: 1) Their existence and 2) Their ability to help organize artifact data and to assist in performing image-based analysis.Describing Art on the Street: The Graffiti Art Community Voice
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenter: Ann M. Graf, Assistant Professor of Library and Information Science, Simmons University
In the field of information science, we strive to provide access to information through the most efficient means possible. This is often done through the use of controlled vocabularies for description of subjects, and, in the case of art objects, for the identification of styles, processes, materials, and types. My research has examined the sufficiency of controlled vocabularies such as the Art and Architecture Thesaurus (AAT) for description of graffiti art processes and products. This research is evolving as the AAT is responding to warrant for a broader set of terms to represent outsider art communities such as the graffiti art community. The methods used to study terminological warrant by examining the language of the graffiti art community are helpful to give voice to artists who work outside the traditional art institution, allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is hoped that this research will inspire others who design and supplement controlled vocabularies for use in the arts to give priority in descriptive practice to those who have been historically underrepresented or made invisible by default use of terminology that does not speak to their experiences.
Photographic Glass Plates and Birthdates: Secrets to Optimizing AI-Generated ...
Photographic Glass Plates and Birthdates: Secrets to Optimizing AI-Generated ...Visual Resources Association
VRA 2022 Session. Presenter: Douglas Peterson
In 2021, the National Archives of Estonia engaged Digital Transitions’ Service division, Pixel Acuity, to build an Artificial Intelligence (AI) tool to analyze part of its historic record. The objective was to use this tool to enhance their collection with descriptive metadata that identified persons of interest in a collection of over 8,000 photographic glass plate negatives, a task that would ordinarily take years of human labor. In this presentation, we discuss our approach to accurately detecting and identifying human subjects in transmissive media, our initial findings using commercially available AI models, and the subsequent refinements made to our workflow to generate the most accurate metadata. In addition to working with commercially available AI models, we developed strategies for validation of AI-generated results without additional human supervision, and explored the benefits of building bespoke, heritage-specific AI models. By combining all of these tools, we developed a highly customized solution that greatly expedited accurate metadata generation with minimal human oversight, operated efficiently on large collections, and supported discovery of novel content within the archive.Crowdsourcing Collection Development
VRA 2022 Community Building Session. Presenter: Dacia Metes
Queens Memory is an ongoing community archiving program that engages with our local communities in our two-fold mission to (1) push local history collections out to the public through programming and online resources, and (2) pull new materials into our collections from the diverse communities of Queens, NYC. The COVID-19 pandemic forced us to close our buildings, cease all in-person work and programming and shift our work to the virtual world. Our team quickly modified our processing workflow and asset tracking with the high volume of crowd-sourced donations coming through new online submission forms, set up in a rapid response to capture the stories coming from the pandemic’s first epicenter in the U.S. In my proposed conference session, I will discuss how we planned and managed the shift to fully online collection development. I will talk about our virtual outreach efforts to engage with the community and get them to contribute their materials, and how we developed the online tools and processes that allowed us to collect photographs, oral history interviews and other audio/visual materials, while also capturing the necessary metadata and consent forms. New internal communications channels, roles for volunteers, and triage processing for publication resulted from these efforts and are now essential parts of the team’s practices.
Accessibility Guidance for Digital Cultural Heritage
The document summarizes a workshop on accessibility guidance for digital cultural heritage collections. The workshop consists of two hours which include presentations on accessibility requirements and workflow strategies, a breakout activity where participants practice creating accessible descriptions for images, and a wrap-up discussion. The presentations cover topics such as common barriers to accessibility, guidelines for making images, video, audio and documents accessible, and best practices for incorporating accessibility into workflows. The breakout activity has participants work in groups to write alt-text and accessibility descriptions for sample images from online collections.
CCO (Cataloging Cultural Objects): Why CCO?
CCO (Cataloging Cultural Objects) is a content standard that provides guidance for formatting and entering metadata values and terms to create shareable metadata for cultural heritage collections. It was developed in the late 1990s/early 2000s in response to questions from catalogers using the VRA Core standard and Getty vocabularies about how to properly format terms. While inspired by these standards, CCO can be used with any controlled vocabulary or data structure. It aims to improve discovery, retrieval, and access of cultural heritage collections through common practices and support for linked open data. The general guidelines also provide advice on structuring local databases and defining hierarchical relationships in controlled vocabularies.
Plus de Visual Resources Association (20)
Comparative Study and Expansion of Metadata Standards for Historic Fashion Co...
Comparative Study and Expansion of Metadata Standards for Historic Fashion Co...
The Medieval Kingdom of Sicily Image Database Project: From Concept to Reality
The Medieval Kingdom of Sicily Image Database Project: From Concept to Reality
Recreating a 19th-Century Spectacle: The 3D Glass Stereo Project
Recreating a 19th-Century Spectacle: The 3D Glass Stereo Project
Cradle of Texas Gay Liberty: An Alternate History of the Alamo City
Cradle of Texas Gay Liberty: An Alternate History of the Alamo City
Material Order: A Discovery Group, Shared Catalog, and Research Platform for ...
Material Order: A Discovery Group, Shared Catalog, and Research Platform for ...
Disinformation and Deepfakes: The Urgent Need for Visual Literacy
Disinformation and Deepfakes: The Urgent Need for Visual Literacy
Pattern and Representation: Critical Cataloging for a New Perspective on Camp...
Pattern and Representation: Critical Cataloging for a New Perspective on Camp...
Stories from the Stop (and Re-Start?): Visual Resources Professionals Face Re...
Stories from the Stop (and Re-Start?): Visual Resources Professionals Face Re...
Supporting Art History Students' Digital Projects at American University
Supporting Art History Students' Digital Projects at American University
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Histori...
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Histori...
Describing Art on the Street: The Graffiti Art Community Voice
Describing Art on the Street: The Graffiti Art Community Voice
Photographic Glass Plates and Birthdates: Secrets to Optimizing AI-Generated ...
Photographic Glass Plates and Birthdates: Secrets to Optimizing AI-Generated ...
Accessibility Guidance for Digital Cultural Heritage
Accessibility Guidance for Digital Cultural Heritage
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Wound healing PPT
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Leveraging Generative AI to Drive Nonprofit Innovation
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Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Interactive Topography with IIIF: Open Access to Photographs from the Ernest Nash Fototeca Unione Collection
- 1. Yegül Beato Van Deman Parker Library Collection Gatteschi AMERICAN ACADEMY IN ROME - PHOTOGRAPHIC ARCHIVE Raddato Session: Archives Tools & Techniques Interactive Topography with IIIF: Open Access to Photographs from the Ernest Nash Fototeca Unione Collection Lavinia Ciuffa, Curator, Photographic Archive, American Academy in Rome - l.ciuffa@aarome.org Maureen Burns, Director, IMAGinED Consulting - moaburns@gmail.com VRA September 26, 2023, San Antonio, TX Aronson Askew
- 2. • 1898 – Potsdam, Germany: Birth of Ernst Nathan Nash • 1936 – Nash emigrates to Italy, Rome • 1939 – Nash emigrates in the US • 1952 – Nash moves back to Italy • 1956 – Donation of 3,135 Negatives to the Fototeca Unione • 1956 to 1974 – Nash was Director of the Fototeca Unione at the AAR • 1970s-1980s – The Collection grows to over 30,000 Photographs: From Rome to the Roman World ● Open Access to Photographs from the Ernest Nash Fototeca Unione Collection April, 1939 (Photo E. Nash)) Rome, Pons Aelius, 1936 (Neg.1099)P Musei Capitolini, 1957 Morocco, Volubilis, 1981 France, Nimes, 1972 Italy, Capri, 1960 https://online.vraweb.org/index.php/vrab/article/view/17
- 3. Rome, Aurelian Walls, Porta Maggiore, 1953 Rome, Atrium Vestae, 1959 Cerveteri, “Banditaccia” Necropolis, 1967 Open Access to Photographs from the Ernest Nash Fototeca Unione Collection AMERICAN ACADEMY IN ROME - PHOTOGRAPHIC ARCHIVE Rome, Aqueducts, 1932 Rome, Temple of Antoninus and Faustina, 1936 Rome, Flavian Amphitheatre, 1936
- 4. 2018 - https://exhibits.stanford.edu/nash 1962- Publication of the “Pictorial Dictionary of Ancient Rome” 1974- Initial 14,000 Images are reproduced in Microfiches (Univ. of Chicago Press) 2000 - Berlin: Exhibition and publication of volume “Ernest Nash / Ernst Nathan: Potsdam, Rom, New York Rom”
- 5. Open Access to Photographs from the Ernest Nash Fototeca Unione Collection https://library.aarome.org/
- 6. Open Access to Photographs from the Ernest Nash Fototeca Unione Collection IIII EMME.BI.Soft Srl - http://www.emmebisoft.it/en/is https://dhc.aarome.org/photographic-archive-collection
- 7. Open Access to Photographs from the Ernest Nash Fototeca Unione Collection IIIIIIF IIII EMME.BI.Soft Srl - (http://www.emmebisoft.it/en/is) [Thermae Traiani (Roma, Italia), interno dell'esedra nord-est del recinto] | American Academy in Rome (aarome.org)
- 8. Open Access to Photographs from the Ernest Nash Fototeca Unione Collection IIIIIIF IIII THANK YOU! Lavinia Ciuffa American Academy in Rome - Photographic Archive l.ciuffa@aarome.org https://aarome.digitalexhibitions.it/s/nash/page/welcome
- 9. UNIVERSITY OF CALIFORNIA AT IRVINE – VISUAL RESOURCES COLLECTION On the Utility of Nash’s Pictorial Dictionary in Photo Archives
- 11. Archivision Research Library 133,000 Images from Ancient to Contemporary Times
- 12. Archivision https://archivision.com/ • Scott Gilchrist, Trained Architect & Professional Photographer, Could Shoot New, Comparable Images to Those of Nash vrcHost https://www.vrchost.com/ • Andreas Knab, Technologist, Could Make the Images IIIF Compliant & Host the New Photographs on his Servers
- 13. Rome Revisited Photo Campaigns ● Scott - Roman Forum 2019 ● Maureen - Rome Various 2019 ● Maureen - Rome Esquiline Hill Area 2022 Results ● 44 Good Matches
- 14. 2019 Example - Lacus Iuternae - Scott Rome Revisited
- 15. 2022 Example - Ara Pacis Building - Maureen Rome Revisited
- 16. Metadata in Excel Spreadsheet Mapped to Dublin Core for MDID
- 17. New Nash-Like Images in MDIDI https://demo.vrchost.com/explore/explore/?c=allcollections:36
- 18. Exhibit https://exhibit.so/ A IIIF Storytelling Tool
- 19. Conclusion • Nash’s work was considered “a model of a modern instrument of scholarly research” • Plan to continue to expand upon Nash’s rich legacy • Thank you for this opportunity to connect with you