The course has a double orientation: theoretical exchange and critical discussions will be combined with practical sessions (lab-based sessions) through which participants will work collaboratively on common projects. Each participant can only join one of the tracks. During your application, you should select the tracks in your preferred order. Take into consideration that participants cannot switch tracks once they are registered in the summer school.
September 25th – September 30th, 2023
The course is organized around three tracks.
Track A: Digital Display Spaces. Greg Niemeyer (UC Berkeley), will work with participants in configuring digital spaces for exhibitions on virtual platforms such as newart.city and modzilla hub. Techniques include basic modeling and animation, .fbx or .glb file format, spatial strategies for virtual engagement, data visualization and local sound synchronization in virtual spaces. Track A participants will create content and curate content produced in the other Tracks to cumulate in an online virtual exhibit about DAHSS 2021.
This track led by Justin Underhill (Visualization Lab for Digital Art History, UC Berkeley) will explore 3D data acquisition techniques, such as photogrammetry and laser scanning, and their use in VR and related virtual environments. We will experiment with different ways of exploring virtual space, and will see how we might use augmented and virtual reality to practice Digital Art History. We will also ask ourselves how to best design visualizations and historical reconstructions for these environments.
Track D, led by Leonardo Impett (University of Cambridge), will think about applications of AI and computer vision to the history of art and visual studies. Thinking about ‘the visual’ is a major difference between digital art history and ‘digital humanities on art history’. We will look at the long history of the computer analysis of images from the late 1980s to today, as well as thinking about the implicit theories of vision that underpin computer vision systems today. We’ll learn to use some basic image processing tools and more sophisticated AI and machine learning algorithms to search within, organise, or study large image sets. Using tools like Scikit-Image, Tensorflow, and ImageGraph (a visual AI tool which we wrote specifically for DAHSS), we will build systems that deal with genuinely big image datasets. For the first time, we will also look at AI systems that generate images like DALL·E, and ask how we might use them as art historians.
No matter what track you pick, you will also see what students do in other tracks in our daily plenary session. In the plenary sessions, notable alumni of the DAHSS program will also share feedback and observations about how DAHSS helped them in their work.
Each day, we will have invited specialist in specific topics concerning Digital Art History that will give us small workshops. Some of these workshops will focus on topics for instance natural language processing or blockchain.
These workshops are part of the activities that we will have all together independently of your selected track.
Each day, we will have lighting talks from DAHSS alumni, to promote their projects, research and networking between the current students and the alumni. Over the years, we have settled a strong DAHSS alumni network and community. We also organize online coffee talks during the whole year to continue promoting and building a Digital Art History community.
Within this framework, we invite the global community of Digital Art History and beyond to submit proposals to participate in the online talk sessions. Every day, a slot for a talk session has been reserved in the general program of DAHSS23. There will be sessions of one hour and a half where researchers will have the opportunity to show/introduce digital/computational projects dealing with Picasso (in any dimension or aspect) or to bring about reflections and critical discussions about the problematic relationship between Picasso and digital culture.