CONF: Digital Humanities (Rome, 23-24 May 18)

Rome, May 23 – 24, 2018


VI Giornata Internazionale di Studi Dottorali del Rome Art History Network

A cura di Angelica Federici (University of Cambridge/RAHN) e Joseph Williams (Duke University/American Academy in Rome)

Coordinata da Matteo Piccioni (Sapienza – Università di Roma/RAHN)


23 MAGGIO 2018

Biblioteca Angelica
Piazza S. Agostino 8, Roma

Francesca Parrilla (University of Notre Dame/RAHN)
Matteo Piccioni (Sapienza – Università di Roma/RAHN)

Angelica Federici (University of Cambridge/RAHN)
Joseph Williams (Duke University/American Academy in Rome)

14.20 SESSIONE I. L’investigazione storica tramite le Digital Humanities
Chair: Silvia Tita (National Gallery of Art, Center for Advanced Study in the Visual Arts)

14.35 Jorge Jiménez (Universidad de Salamanca),
La digitalizzazione dei manoscritti medievali. Alcuni rischi e vantaggi

14.55 Alberto Faria (Universidade de Lisboa),
Between light and shade: Present and future of the Collection of Prints – University of Lisbon, Faculty of Fine-Arts



16.00 SESSIONE II. La digitalizzazione degli archivi e la tutela del patrimonio culturale
Chair Valeria Vitale (University of London)

16.15 Dario Haux (Universität Luzern),
Sul paradigma della preservazione del nostro patrimonio globale con l’informatica digitale

16.35 Ji Young Park (Technische Universität Berlin),
Digital provenance research for Asian art: revealing an object’s past, reconstructing its discourse

16.55 Martina Massarente (Università degli Studi di Genova),
La piattaforma virtuale del DIRAAS (Unige): applicazione informatiche per la storia della critica d’arte e la fotografia


Caroline Bruzelius (Duke University)



24 MAGGIO 2018

American Academy in Rome
Via Angelo Masina 5, Roma

14.00 SALUTI
Lindsay Harris (American Academy in Rome)
Ariane Varela Braga (Universität Zürich/RAHN)

14.10 SESSIONE III. L’Interazione tra le Digital Humanities e l’oggetto storico artistico
Chair Bissera Pentcheva (Stanford University/American Academy in Rome)

14.25 Kelly E. McClinton (Indiana University),
The resting satyr: a digital exhibit in augmented

14.45 Leonardo Impett (Digital Humanities Institute, EPFL),
Notation, alienation and operationalisation in digital Art History



15.50 SESSIONE IV. Le Digital Humanities nel mondo dell’editoria
Chair Allison Levy (Digital Scholarship Editor, Brown University)

16.05 Giuditta Cirnigliaro (Rutgers University),
The digital reconstruction of Leonardo’s library: revealing formal patterns in Early Modern thought

16.25 Olga Hajduk (Institute of Art of the Polish Academy of Sciences),
The power of tools. Reflection on digital art history possibilities in relation to research on Early Modern sculpture and creating art objects catalogues

16.45 Stefania de Vincentis (Università di Ferrara),
Gli archivi digitali come strumento per l’audience development. Elementi dal tavolo di lavoro su ICT e Cultural Heritage della Commissione Europea 2017


Le Digital Humanities e la conservazione del patrimonio culturale
Giacomo Massari (TorArt, Carrara)
Isabella Baldini, Giulia Marsili, Lucia Orlandi (Università di Bologna)

Angelica Federici (University of Cambridge/RAHN)
Joseph Williams (Duke University/American Academy in Rome)



Join the Network!

Reference: CONF: Digital Humanities (Rome, 23-24 May 18). In:, May 15, 2018. <>.

CFP: Where Computer Vision Meets Art (Munich, 8-14 Sep 18)

VISART IV “Where Computer Vision Meets Art”

4th Workshop on Computer VISion for ART Analysis
In conjunction with the 2018 European Conference on Computer Vision (ECCV)
Cultural Center (Kulturzentrum Gasteig), Munich, Germany
Munich, September 09, 2018

Deadline: Jul 9, 2018

Following the success of the previous editions of the Workshop on Computer VISion for ART Analysis held in 2012, 2014 and 2016, we present the VISART IV workshop, in conjunction with the 2018 European Conference on Computer Vision (ECCV 2018). VISART will continue its role as a forum for the presentation, discussion and publication of computer vision techniques for the analysis of art. In contrast with prior editions, VISART IV will expand its remit, offering two tracks for submission:

1. Computer Vision for Art – technical work (standard ECCV submission, 14 page excluding references) Continue reading “CFP: Where Computer Vision Meets Art (Munich, 8-14 Sep 18)”

CFP: Digital Humanities for Academic and Curatorial Practice (Rome, 23 – 24 May 18)

Biblioteca Angelica di Roma and American Academy in Rome
May 23 – 24, 2018

Deadline: Mar 1, 2018


The Digital Humanities have challenged all disciplines of Art History to engage with new interdisciplinary methodologies, learn new tools, and re-evaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital Humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites which cease to exist or are inaccessible (celebrated examples including the lost Great Arch of Palmyra reconstructed with a 3D printer). Curatorial practices are now trending towards a sensorial and experiential approach. Continue reading “CFP: Digital Humanities for Academic and Curatorial Practice (Rome, 23 – 24 May 18)”

CFP: Heritage Revisited (Vienna, 27-28 Sep 18)

Heritage Revisited – Rediscovering Islamic Objects in Enlightenment Europe

Institut für Kunstgeschichte
Universität Wien / University of Vienna
September 27 – 28, 2018

Deadline: Feb 1, 2018

Mattia Guidetti (Universität Wien); Isabelle Dolezalek (SFB 980 „Episteme in Bewegung“, Freie Universität Berlin and Technische Universität Berlin)

The large bronze griffin now kept in the Museo dell’Opera del Duomo in Pisa is but one example among many others of an object originating from the Islamicate sphere that formed part of the material and visual culture of pre-modern Latinate Europe. With their adaptation to new contexts, many of these objects took on a new function: a perfume flask could be turned into a reliquary, a courtly textile into a shroud, and the griffin, which may well have been made for a fountain, ended up on top of the Pisan cathedral’s roof. Often, their Islamicate origins were forgotten and the objects acquired a new identity suiting the purposes of their European users. Continue reading “CFP: Heritage Revisited (Vienna, 27-28 Sep 18)”

CONF: Heritage Protection after 1945 (Exeter, 21-22 Nov 17)

State Socialism, Heritage Experts and Internationalism in Heritage Protection after 1945
Reed Hall, University of Exeter, UK, November 21 – 22, 2017


Histories of heritage usually perceive their object of study as a product of western modernity, and exclude the socialist world. Yet, understood as a cultural practice and an instrument of cultural power, and as a “right and a resource”, heritage has played important roles in managing the past and present in many societies and systems. In the postwar period, preservation became a key element of culture in socialist and non-aligned states from China, the Soviet Union, and the Eastern Bloc to Asia, Latin America and Africa. Attention paid to the peoples’ traditions and heritage became a way to manifest the superiority and historical necessity of socialist development. However, the contribution of socialist states and experts to the development of the idea of heritage is still to be fully excavated. Continue reading “CONF: Heritage Protection after 1945 (Exeter, 21-22 Nov 17)”

CFP: The Cultural Heritage of Europe @ 2018, (Paris 06/18)

International Conference
organized by LabEx
« Écrire une Histoire Nouvelle de l’Europe », University Paris-Sorbonne

04.06.2018-05.06.2018, Paris, Institut national d’histoire de l’art (INHA)

Deadline: 10.11.2017

Concept: Michael Falser, visiting professor, University Paris-Sorbonne (2018) with Dany Sandron, professor, University Paris-Sorbonne

Today’s globalized concept of cultural heritage is often understood as a product of European modernity with its 19th-century emergence of territorially fixed nation-states and collective identity constructions.

Within the theoretical overlap of the disciplines of history (of art), archaeology and architecture cultural properties and built monuments were identified and embedded into gradually institutionalized protection systems. In the colonial context up to the mid-20th century this specific conception of cultural heritage was transferred to non-European contexts, internationalized in the following decades after the WWII and taken as universal. Continue reading “CFP: The Cultural Heritage of Europe @ 2018, (Paris 06/18)”