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International Journal for Digital Art History, Issue #2

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International Journal for Digital Art History, Issue #2 Figure 1: From top to bottom: Gradually zooming from an initial bird’s-eye view of the visualization to a mid- point view showing sev er al sketches in temporal prox- imity to close-up views of one individual drawing. Invited Article Linking structure, texture and context in a visualization of historical drawings by Frederick William IV (1795-1861) Katrin Glinka, Christopher Pietsch, Carsten Dilba, Marian Dörk Abstract: In this article we present a case study on digital representation of the art historical research and metadata brought together for a scientific collection catalogue by the Prussian Palaces and Gardens Foundation Berlin-Brandenburg. The resulting interface aims at linking the structure and texture of a collection of drawings by Frederick William IV of Prussia (1795–1861) with additional contextual information. The article describes the context of the larger research project and presents the resulting visualization and interaction techniques specifically designed for dynamic exploration along time and subjects. Keywords: information visualization, metadata, zoomable user interface, direct visualization, case study, inventory catalogue, digital art history Link: https://uclab.fh-potsdam.de/fw4/en 1 and ensure conservation3. Thus, Introduction institutional exhibition and publication activities target a broad range of »Every idle moment [...] he draws different activities and audiences. For on paper; sketches for great historic the non-scholarly public, the most pieces, [...] persons and things that visible has been so far the physical he has seen while travelling, mythical exhibition in a museum or gallery, beings and allegorical matters. He even often accompanied by an exhibition paints heaven and hell; and quite often catalogue. Adding to that, the scholarly biblical things.« and expert public seeks to be informed on the research conducted in the Johann Friedrich Herbart (1810)2 specialised departments of a collecting institution on a more scientific level. According to its definition, a museum Among these publishing activities that does not only serve as a (semi-) public are aimed at an expert public are in- space for education, indulgement or ven tory or collection catalogues that even enjoyment. Its self-perception provide domain experts and researchers and objective is deeply rooted in with a fully developed art historical ex- an obligation to conduct research amination of a set of artefacts, which Linking structure, texture and context are often thematically focused on as the first case study. Accordingly, well-defined parts of a collection. The the existing digital resources had to be still predominant medium of publi­­­­ analyzed together with professionals cation for both non-scholarly exhi bi- from various areas of the foundation. tion catalogues and scientific collec - We conducted a first co-creation work- tion catalogues is the printed book shop4 in order to identify promising format. Museums and other collec - collec tion areas and aspects that could ting institutions have meanwhile suit our aim to conceive a dynamic vi- understood that the digitization of sual i zation using the existing digital their collections is an inevitable need sources and material provided by the in order to provide reproductions of SPSG. After these early stages of the objects and artworks for research, re search project, we decided to use a make them accessible via e.g. databases fully developed digital inventory cat- with web interfaces, and secure the a logue of the drawings by Frederick con ser vation of sources and material. William IV of Prussia. The decision Correspondingly, the Prussian Palaces was mainly influenced by the ambition and Gardens Foundation Berlin- to explore the potential of visualization Brandenburg (SPSG) has started to as a tool that does not only allow for employ digital forms of publication an overview (e.g. analytical visu al i - and is working on digitizing their col- zations of metadata5), but also serves lection. However, as is the case for an exploratory gateway to the col- many collecting institutions engaged with digitization efforts, it is still an lec tion by combining overview and open question how to make the newly detail (on a visual as well as textual digitized collections available for open level) while also integrating contextual exploration and visual analysis. observations and scientific findings. The inventory catalogue had already In this context, the objective of been published digitally, but in a static our overall research project “VIKUS– format, comprising high-res o lution Vi sual i zing Cultural Collections” is digital copies of 1492 sheets of draw- to examine the potentials of visu al - ings by the King alongside the cor- i zation techniques when applied to, re sponding metadata and a full art and developed for, digitized cultural historical analysis, indexing, and inter- collec tions. Given the fact that the pretation in several object-related and SPSG manages and administers several thematic texts. historical buildings, palaces, gardens, vast collections of paintings, furniture, sculptures, porcelain, drawings, and Aspirations other historical objects (that have not all been entirely digitized, yet), the eing the first use case developed first step of our research project was Bin the framework of the VIKUS to identify a suitable subset from the research project, the visualization range of collections that could serve of drawings by Frederick William 200 DAH-Journal Linking structure, texture and context Figure 2: Hovering over a keyword (top) and selecting the keyword “Architecture” (bottom). DAH-Journal 201 Linking structure, texture and context IV serves as an object of study that important distinction also served as a is, on a more general note, aimed at vantage point for Benjamin Zweig in investigating the potentials inherent his “attempt to help define [...] what to visual explo ration of digitized »digital art history« is.”7 Reflecting collections. In the scope of our the course of the project, we were research, we develop and evaluate challenged to transfer­­ or rather graphical interfaces that are aimed at translate a digitized art historical source enabling interactive ex amination of into a digital art histor ical source. cultural objects. We there by practically More specifically said, although the contribute to the overall challenge source for our vis u alization already is a that archives, muse ums, libraries and digitally published inventory catalogue, other collecting in sti tutions are now its internal logic, framework, and facing, namely the need to improve structure still resembles non-digital the accessibility of their digitized ways of working and researching in inventories while also pro viding art history. Thus, we had to identify new modes of engagement with properties, metadata, and structures digitized artifacts. While conducting together with our project partner, applied research and working in close and in turn communicate the logic collaboration with cultural institutions and functionality of data-driven visu - - in this case the SPSG - we also wish alizations. Our self-proclaimed goal to engage in the ongoing discourses consequently led to interdisciplinary that are prevailing in disciplines like co-creation, continuous integration computer sciences and visualization and discussion of approaches and research, (digital) humanities, (digital) priorities. Another feature that de vel- art history, museology, as well as design oped throughout the process was the research and adjoining disciplines. aim to widen the audience that might engage with the collection of drawings. This decidedly interdisciplinary approach offers the possibility to As pointed out earlier (and em- build upon and draw from previous phasized in interviews with our disciplinary and interdisciplinary cooperation partner), the inventory research. At the same time, it also catalogue is mainly published for a poses the challenge to translate scientific expert public and is distinctly between different aca demic cultures, con ceived within the research de- methodologies and assumptions. To partment (Department Palaces and put this in concrete terms, digitizing Collections) of the foundation. The a collection does not implicate that King’s drawings are predominantly this process is nested in a thoroughly consulted by researchers in the domain digital approach. As Johanna Drucker of art history and architecture as well has pointed out, there is a distinction as by experts on Prussian history. Only between digitized art history and on the occasion of the King’s 150th digital art history6. This in our view day of death in 2011, the drawings 202 DAH-Journal Linking structure, texture and context were made publicly accessible in an hand-written notations by the King exhibition at the Roman Baths in or markings by later researchers), Sanssouci Park.8 With the visualization, watermarks, measurements of the we built upon the scientific content of sheet, time and year, material, title(s) the inventory catalogue and enhanced of corresponding thematic text(s), list it with contextual information within of corresponding secondary literature, the visualization, aiming at making and a hierarchical index-based list the collection of drawings explorable of descriptors. The descriptors were also by a non-expert audience. We are worked out by the group of art investigating if and how novel visu al - historians during the analysis and i zations of cultural collections and the research process
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