Page 324 - The Black Box Book

P R A C T I C A L CU R A T O R R E F E R E N C E S

The methods and technologies we have explored can make a significant Belvedere Museum (2022). Der Kuss (Liebespaar).
contribution to the organization of art historical collections. They will enable Retrieved from https://sammlung.belvedere.at/objects/6678/der-kuss-liebespaar
curators and researchers to better grasp large collections of reproductions Google Scholar (2022). Google Scholar. Retrieved from https://scholar.google.com
and to search, discover and filter them more easily. Equally, they can be
a useful tool in classifying and describing works of art, or a way of linking Horská D. (2018). Vliv rodinných a sociálních vztahů na vládu a dvůr Rudolfa II.
and integrating these objects into diverse contexts. Univerzita Karlova, Katolická teologická fakulta
In addition to their practical application in museums and galleries, Zlatohlávek M. (2012). Přehled dějin českého umění Umění na dvoře Rudolfa II.
these algorithms can help us discover relationships, similarities, and mean- Praha: Ústav pro dějiny umění.
ings that would otherwise be invisible on a smaller scale. Nonetheless,
when it comes tackling a whole genre as opposed to a sample set or if Pilka L. & Hrdličková T. (2022). Rudolf’s Painters | Atlas of similarities.
we want to examine general social conditions as opposed to the status Retrieved from atlas.digitalcurator.art/rudolfspainters/index.html
of a specific artist as well as the social-political climate as opposed to Kaufmann T. D. (1988). The school of Prague:
the views of a particular artist then the need to engage with large data- Painting at the Court of Rudolf II. Chicago
sets becomes pertinent. Ultimately, this is where the proper tools and
techniques can be effective and relevant. Bartlová M. (2013). Skutečná přítomnost. Středověký obraz mezi
Designer and theorist Johanna Drucker imagines a future virtual ikonou a virtuální realitou. Praha
environment that might one day enrich research and general knowledge Riechert R. P. (2017). What does “genre“ in Art mean?
in her speculative narration Museum Opens. Her digital simulation, called Things you never dared to ask a gallerist. Medium
Mus@um, is not one isolated place or story, but a tangle of connections,
scenes and objects that come together in various ways in obvious and TensorFlow. (2022). Resnet V2 Object detection model. TensorFlow Hub
less obvious contexts. It is a system where artifacts appear in countless Drucker J. (2019). The Museum Opens. International Journal for Digital Art History,
different contexts, creating a dazzling holistic view of the world’s cultural Issue 4. Retrieved from https://journals.ub.uni-heidelberg.de/index.php/dah/article/
heritage. Here, objects are linked to each other and placed alongside basic view/66410/59208
evidential data such as place of origin, period of creation or material. In
addition, they materialize figures and situations that reflect prior owners,
collections to which the objects once belonged, events in which they
played a crucial role, or ideologies of which they were a part (Drucker,
2019, pp. 1–15). (Drucker, 2019, pp. 1–15). Intelligent algorithms can be used
to carefully solve the connection of numerous data from many sources,
paving the way for the eventual realization of a Mus@um that combines
the logic of Wikipedia with the immersion of virtual reality. It is my hope
that the experiments described in this article will contribute to bridging
the humanities and the technical world, which might also make art collec-
tions a more accessible and inspirational source of knowledge.

The text is based on a dissertation that the author defended at the University of
Arts, Architecture and Design in Prague in September 2022.
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