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Mapping Circulation of Ideas, Concepts and Discourses in Modern and Contemporary Art & Architecture – Project Artnet

I – HISTORY Involvement of art history and history of architecture with computing begun in the early 1980s, and simultaneously at different Europe and North American locations. Lagging behind the similar developments in other humanist disciplines – in particular archaeology, and literary history – interest of art historians in application of computers, was closely following developments in the information technology and information sciences. However, a few recent attempts in reconstructing genealogy of digital art history, clearly show that the commonly accepted view of art history as being late in adopting and including IT in its practices is not justified. Moreover, there were quite a few rather interesting ideas, and projects developed in the 1990s. Some of them have been completed, implemented, and are still running, others – equally useful – were cancelled due to the lack of financial support. Those more advanced and visionary, which required technological solutions unavailable at the time, still serve as a valuable source of inspiration and motivation for contemporary art historical community. However, regardless of unquestionable advancements brought about by introduction of information technology, there is an impression – shared across the communities of ‘digital art historians’ – that discipline of art history in general is still too cautious, and too restrained towards the application of digital tools in a more complex type of research, questioning the epistemic value of quantitative or network analysis. Digital technologies are widely accepted in the "’digitized’ iteration of art history propelling traditional practices, exemplified by the online publication of image collections and born- digital periodicals … [giving] scholars quicker access to more materials without challenging the practices under which they work." (DRUCKER, 2013, page 7). II – PRESENT STATE - In 2013 and in the editorial to the special issue of journal Visual resources, intended to provide “the snapshot of the state of [digital humanities] in late 2012”, (BACA, HELMREICH, 2013, page 1), Murtha Baca, and Anne Helmreich identified five chronological “stages” of its development. Although it lacks a clear temporal references, suggested chronological overview is quite interesting, and provides informed insight in different strands of research conducted in the last fifteen years. According to Baca, and Helmreich, in the first phase, art historians “recognized the capacity of the Internet, and digitization as new medium of dissemination, and accessibility”, (BACA, HELMREICH, 2013, page 2), which resulted with the creation of “scholarly editions and curated archives, or primary source collections in the online environment.” (BACA, HELMREICH, 2013, page 2). The second phase that sow the engagement of smaller research groups, and development of less funded, but more imaginative projects resulted with the “development of new digital tools”, and “the infrastructure for collection building on a level accessible to the individual scholar” (BACA, HELMREICH, 2013, page 2). The third phase brought the experiments with visualization technologies, while in the fourth one, the interest of art historians shifted towards electronic and open access publishing. Characteristics of the last phase is a pronounced occupation with “new modes of scholarly research”, and “the shift from ‘close reading’ to ‘distant reading’, enabled by the assemblage of vast corpuses of digital data.” (BACA, HELMREICH, 2013, page 3). An important element that is missing in the Baca – Helmreich survey is the fact that numerous recent, advancements in digital humanities, have been done by small labs, and researched groups who were cooperating with the independent creative people outside the Academia, usually conducting their experiments and investigations with a very modest financial resources. Technology allowing for such experiments was, and is generally available, as well the imagination, and intense exchange of knowledge and ideas that runs in such small collectives without academic formalities. The substantial financial investments in the field of digital art history / digital humanities in the last three years are indicative of an important ongoing change in that respect. It will reconfigure the position of art history in the Academia once again, forcing a still another, serious re-examination of both its objectives and intellectual foundations. III – ARTNET Project ARTNET, developed and conducted at the Institute of Art history in Zagreb, from 2014 to the end of 2018, which is the topic of this panel presentation belongs to the group of these small group, low- cost investigations, and its objective was to develop the knowledge information system allowing for the integration of several digital tools for data analysis and presentation. The operability of the system is tested on data of 20th century art, or – more precisely – on the modern and contemporary artists’ networks. The objective of the analysis conducted at the project is to reconstruct the organizational structure in their background, and to describe it in terms of research patterns applicable in further research of modern and contemporary artists networking practices regardless of their geographical framework. Foundation for the research were the experiences with network analysis in some previously conducted and implemented projects, as it was famous Republic of letters, but also the research project Origins of culture, conducted by the team of historians and scientists, led by Maximilian Schich, at the North-western University, and intended to map the trajectories of cultural mobility from 600 BC to the present. The results of that research, published in August 2013, comprised – in methodological sense – for the important reference point at the initial phase of our investigations in 20th century artists networks. In this presentation we shall explain the structure of ARTNET information system, its’ built in digital tools, user interfaces, and modes of application, but also the future lines of research, which opened up as possibility in the last phase of our work. REFERENCES BACA, Murtha ; HELMREICH Anna. “Introduction”. Visual Resources. London: Routledge, Vol. 29, N. 1-2 (2013), pp.1-4. BENTKOWSKA-KAFEL, Anna. “Debating Digital Art History”. International Journal of Digital Art History. Munich: Graphentis Verlag e.K., Vol. 1, N. 1 (2015), pp. 51-64. DRUCKER, Johanna, "Is There a ‘Digital’ Art History?" Visual Resources. London: Routledge, N. 1-2 (2013), p 7. GREENHALGH, Michael. "Art History". In: [SCHREIBMAN, Susan ; SIEMENS Ray ; UNSWORTH John: eds.] A Companion to Digital Humanities. Oxford: Blackwell, 2004, accessed 14 May, accessed 7 May 2018, available at http://www.digitalhumanities.org/companion/ NELSON, S. Robert. “The Map of Art History”. The Art Bulletin. New York: College Art Association, Vol. 79, N. 1 (Mar., 1997). pp. 28-40. SCHICH, Maximilian ; SONG Chaoming ; AHN Yong- Yeol ; MIRSKY Alexander ; MARTINO Mauro ; BARABÁSI Albert-László. “A network framework of cultural history”. Science. New York: American Association for the Advancement of Science. Vol. 345, N. 6196 (1 Aug 2014), pp. 558-562. SVENSSON, Patrick. “The Landscape of Digital Humanities”. Digital Humanities Quarterly. Alliance of Digital Humanities Organizations. Vol. 4, N. 1 (Summer 2010) http://digitalhumanities.org/dhq/vol/4/1/000080/ 000080.html. VAUGHAN, William. “History of Art in the Digital Age: Problems and Possibilities” In: [BENTKOWSKA-KAFEL Anna ; CASHEN Trish ; GARDINER Hazel, eds.] Digital Art History – A Subject in Transition, Vol. 1. Bristol and Portland: Intellect, 2005, pp. 3-15. ZWEIG, Benjamin. “Forgotten Genealogies: Brief Reflections on the History of Digital Art History”. International Journal of Digital Art History, Munich: Graphentis Verlag e.K. Vol. 1, N. 1 (2015), pp. 39-49.

digital art history, digital history of architecture, social networks. network analysis, real-time collaborative platforms

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