Abstract
This article addresses the current digital status in the fields of Museology and History of Art, both in Greece and internationally, in order to examine, record and analyse the extent of usage and the impact of digital tools. We will study the state-of-the-art in the fields of Museology and Art History, with a particular focus on examining the degree to which Greek institutions of culture and arts, as a case study in Europe, use state-of-the-art digital technologies (e.g., semantic technologies, augmented reality, and ubiquitous computing) for (a) storing, managing and documenting artworks together with all relevant knowledge/information; and (b) interpreting and presenting artworks to the public. We will also study and analyse the degree of interrelation between knowledge/information, and art and cultural heritage that is currently hosted in distinct cultural and art institutions around Greece, as well as between Greek institutions and relevant projects abroad. In this context, the issue at stake is the identity and the way Art History is exercised.
Highlights
This article addresses the current digital status in the fields of Museology and History of Art, both in Greece and internationally, in order to examine, record and analyse the extent of usage and the impact of digital tools
Questions like the following will continue to be raised in the future: how – and in what respect – does the use of digital media influence our visual perception, our abilities to recognize the quality of artefacts or the interpretative process?. This raises yet another question: Are we moving closer to what Erwin Panofksy ironically called “rejection of the originals”? This issue will become even more pressing as the works of art are being transformed into images that people worship and increasingly use, unlike the physical objects themselves, while they can access them in thousands, beyond the natural human capabilities (KLINKE, 2019, p. 16-19)
Like the discovery and use of photography within the Art History framework, this fact goes to confirm the view of Robert Koch, who claimed back in 1865 that the – digital – “photographic picture of a microscopic object can under certain circumstances be more important than [the object] itself” (BREDEKAMP, 2003, p. 102)
Summary
This article addresses the current digital status in the fields of Museology and History of Art, both in Greece and internationally, in order to examine, record and analyse the extent of usage and the impact of digital tools. We will study the state-of-the-art in the fields of Museology and Art History, with a particular focus on examining the degree to which Greek institutions of culture and arts, as a case study in Europe, use state-of-the-art digital technologies (e.g., semantic technologies, augmented reality, and ubiquitous computing) for (a) storing, managing and documenting artworks together with all relevant knowledge/information; and (b) interpreting and presenting artworks to the public. We will study and analyse the degree of interrelation between knowledge/information, and art and cultural heritage that is currently hosted in distinct cultural and art institutions around Greece, as well as between Greek institutions and relevant projects abroad. In this context, the issue at stake is the identity and the way Art History is exercised. The study of artworks and their impact is being re-initiated within the new, evolving digital scene
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