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Participation au colloque "The Portals of Art History" (Les Portails en Histoire de l’Art) organisé au Sterling and Francine Clark Art Institute(Williamstown - Massachussets) par Michael Ann Holly, Directeur, Research and Academic Program et Mark Ledbury, Directeur associé, RAP, avec le soutien de la Fondation A. Mellon.
Les participants rassemblés, à la fois experts et pionniers, ont pris des initiatives diverses pour assurer la présence de l’histoire de l’art dans l’environnement numérique. Comme à l’accoutumée,le Clark Art Instituteorganise la rencontre de ces personnalités sous la forme de discussions structurées afin d’assurer, en l’absence de public, un libre débat autour d’une série de thématiques. L’ambition de ces échanges est de dégager des visions prospectives dans le champ de l’histoire de l’art et des études visuelles en s’attachant au moins autant aux questions de fond, aux enjeux stratégiques, qu’à la dimension des choix techniques.
Organisateurs/Présidents
Michael Ann Holly, Directeur, Research and Academic Program, The Clark Institute.
Mark Ledbury, Directeur Associé, Research and Academic Program, The Clark Institute.
Intervenants :
Petra ten - Doesschate Chu, éditrice du site/journal Nineteenth-Century Art Worldwide.
Katy Deepwell, fondatrice et éditrice du site/journal Nparadoxa.
Charles Henry,Rice University, spécialiste du monde des bibliothèques et du numérique.
Godehard Janzing , Deutsches Historisches Museum, éditeur d’H-Arthist
Bill Kelly Jr, fondateur et éditeur du site/journal LatinArt.
Christine Kuan, Grove Art Online.
Teresa Lai, supervise "l’Art History Timeline" du Metropolitan Museum of Art.
Max Marmor, directeur du développement des collections pour ARTstor.
John Prown, Directeur de la Chipstone Foundation.
Didier Rykner, fondateur et éditeur du site “La Tribune de l’art".
William Tronzo, co-organisateur de la conférence du Getty "Art History and the Digital World".
Corinne Welger-Barboza, Université de Paris I Panthéon-Sorbonne,
fondatrice et éditrice de l’Observatoire Critique des Ressources numériques en histoire de l’art et archéologie.
Chris Whitcombe, Sweet Briar College,
éditeur et fondateur d’Art History Resources on the Web.
Assistance
David Keiser-Clark, Webmestre, Clark Art Institute.
Kent Lydecker, Directeur éducatif, Metropolitan Museum of Art.
Susan Roeper, Bibliothécaire en chef, Clark Art Institute.
Chercheurs invités au Clark :
Malcolm Bull, Ruskin School, Oxford University.
Darby English, University of Chicago.
Lowery Sims, Studio Museum, Harlem.
Carolyn Tate, Texas Tech University.
Ernst van Alphen, University of Leiden.
James Meyer, Emory University.
Programme
Vendredi 11 Mai
9:00 Michael Ann Holly et Mark Ledbury. Accueil et Introductions.
9.15-11.15 Session 1 : Les Portails et leur gestion.
The Internet was championed as a tool of access --- in art history, how has that access enabled new audiences, new interests, new ways into the ‘discipline” ? Where are the important “first step” sites in art history ? Should the academic community care about these sites ? What kind of art history do they promote/represent ?
How are gateways patrolled ? Gatekeeping is something the academic world has done efficiently, scrupulously guarding its hierarchies of knowledge and its credentials. What are the rules for gatekeeping art history on the net ? Who does it ? Who should do it ? Do we need it ? Do we need safeguards and quality assurance, and how might we make it possible for students and the public to understand the different kinds of knowledge available on the web ?
What value does the community find in knowing that certain online
sites contain content that has been peer-reviewed and/or written by
scholars ?
Is there a fine line between knowledge sites and advocacy sites/fan sites ? What does this line tell us about the assumptions we make about art historical knowledge and authority ? Should we actually re-conceive our models of authority in the discipline in this new era ?
Modérateurs : Mark Ledbury, Bill Tronzo Christine Kuan and Teresa Lai
11:15 Session 2 : La Base de données mondiale ? Archives, Collections, Bibliothèques d’Art et le Web.
Where are we with museum collections on the web ? Art history often regards itself as object-based, but are these objects well-represented by on-line resources established by museums ? What are the most fruitful and useful models of database currently out there ? And what are the disasters/pitfalls of the short history of “collections databases” ?
More philosophically, what can a collection database actually do for art historians ? Is it just a glorified list ? Can objects be /modeled/represented in electronic form in a way which actually helps understand them rather than simply list them — or is it inevitably the case that only physical contact with an object can really bring the researcher “close” to it ? What kind of new models of database might we envision in the future ?
How do museums negotiate their double bind — needing to use their collections as revenue generators and yet having a mission to further understanding and knowledge ?
What is the point of the exhibition microsite ? Which are the most successful examples of the genre ?
What is the future of image databases for teaching and research ? What have we learned from Artstor ? What is the future of the project ?
How can libraries and archives further research beyond the catalogue/database model ? How have book digitization projects helped/hindered research in the field ? Are we approaching the truly universal research library ? Are skills or materials “lost” in the process or is it win-win ?
Modérateurs : Jon Prown, Charles Henry, Max Marmor.
15:00 - 17:00 Session 3 : Publier sur le Web.
What are the successful models of art history publishing on the web ? Are we now at a critical moment for the “e-journal” ?
What kinds of journal are published on the web ? Is there a disciplinary/political/cultural difference between paper-based journals and web journals in art history ? Is there now a hierarchy of “importance” for web journals ?
What are the obstacles to further development of web-based art history journals, apart from image rights ?
Can ejournals ever be commercially successful, or even sustainable ?
Do e-journals currently exploit the unique benefits of web-based publishing, or are they still slave to traditional formats and ways of thinking about what a journal is and should be ?
What contribution do sites like the Observatoire Critique , Latinart.com and others make to critical awareness, international understanding (or the overcoming of cross-border ignorance...) in publication and the dissemination of research ?
Is e-publishing a positive step towards a more globally-oriented art history ?
Will the web change the footnote ?
Modérateurs : Katie Deepwell, Petra Chu, Corinne Welger, Bill Kelley Jr.
Samedi 12 Mai
9:30 Session 4 : L’Histoire de l’Art et le web 2.0.
What does the (now rather clichéd) term “Web 2.0” mean for art history ? How can the art history community on the web be constructed ?
Will the same institutions dominate art history on the web in the future (ie Museums and Universities ?) or will individual and independent projects, linked together in networks, present a challenge to this older model ?
How do listservs work to oil the wheels of the art history community ? Are they effective ? Are they sufficiently exploited and developed ? Do they provide another model of web use ?
What about sharing/community/networking in the discipline ? Can art history use Flikr, or Myspace, or “Second Life” technologies ? What else is around the corner ?
What is the role of blogs, podcasts and the spawn of these technologies in shaping the community of those interested in or committed to art history ?
What new technologies might enable swifter, more effective and more cordial communication between communities and interest groups in the discipline (internationally and institutionally) that remain stubbornly uncommunicative ?
What is the role of the commercial site vs. the journalistic site vs. the academic site ? Or must we now see these barriers as more fluid ?
How might technology help diffuse other forms of interaction and debate than the book (i.e., conferences “live”, web-colloquia, etc.)
Modérateurs : Godehard Janzing, Didier Rykner, Christopher Witcombe
14:00 Session 5 : L’Histoire de l’Art 2.0 ? Faire de l’histoire de l’art différemment.
As Bill Tronzo asks : The digital humanities are thriving. What are the major new research methods or techniques that have emerged in art history and how have they shifted or changed the constellation of problems and questions with which art historians occupy themselves ?
Will the new digitized art history be more truly global ? Will it change canons, emphases or ways of seeing, or will the richest museums and institutions dominate the digital world even more than they dominate the paper world ?
Can the internet really serve as a way of opening up art history to more interdisciplinary/collaborative research ? Is this even desirable ? Or will the best art history always be the result of the individual mind confronting the individual object, as some believe ?
As Didier Rykner asks : Is it possible today to do art history without the Internet ?
And if not, what skills might be lost/made redundant by the digital age ? Should we be worried about this ?
What would “Open Source” art history look like/be like !?
Modérateur : Mark Ledbury.
17:30 Clark Conversation (panel de discussion ouvert au public) et réception.
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