Art History and the (present) Digital Future

A presentation given to the Florida State University Art History department Graduate Student colloquium on Oct. 7, 2013.

Transcript

2. micah vandegrift scholarly communication librarian Art History and the (present) Digital Future
3. Digital Scholarship Characteristics: It is the result of original research; it has an argument of some sort and that argument is situated in a pre-existing conversation among scholars; it is public, it is peer reviewed; and it has an audience response.
4. Aspects: • “publishing” • data • information literacy • copyright/fair use • web apps/tools • technology in the classroom • social media • writing for the web • text analysis • mapping/GIS • funding Challenges: • fear • training • defining the audience • project > product • diverse projects • collaborative projects • funding • new forms of peer- review • Evaluation of The Work
5. “The discipline of art history is supported by an infrastructure of universities, libraries, archives, museums, publishers, funding agencies, professional associations, and research centers.” Transitioning to a Digital World: Art History, Its Research Centers, and Digital Scholarship - Zorich
6. Aspects: • “publishing” • data • information literacy • copyright/fair use • web apps/tools • technology in the classroom • social media • writing for the web • text analysis • mapping/GIS • funding Challenges: • fear • training • defining the audience • project > product • diverse projects • collaborative projects • funding • new forms of peer- review • Evaluation of The Work
8. "To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries." Article I, Section 8, Clause 8
12. the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright.
13. Statements on Fair Use: College Art Association (CAA) - Feb. 2012 Adopts VRA statement & ARL (Association of Research Libraries) Code of Best Practices for Fair Use. VRA Statement on the Fair Use of Images for Teaching, Research and Study “Images incorporated into such dissertations or theses for the purpose of advancing or documenting a scholarly argument or point should be consistent with fair use, even when those theses or dissertations are then distributed through online repositories and databases.” ARL Code of Best Practices for Fair Use “It is fair use for a library to receive material for its institutional repository, and make deposited works publicly available in unredacted form, including items that contain copyrighted material that is included on the basis of fair use.”
14. Aspects: • “publishing” • data • information literacy • copyright/fair use • web apps/tools • technology in the classroom • social media • writing for the web • text analysis • mapping/GIS • funding Challenges: • fear • training • defining the audience • project > product • diverse projects • collaborative projects • funding • new forms of peer- review • Evaluation of The Work
15. Digital Publishing? “what constitutes publication in the digital world? Should new online forms of publication be valued equally? Are they equivalent in value to print publications?” Publish a website Publish a dissertation Publish a monograph Publish an article Publish a digital archive Publish a blog post Publish a wiki Publish a report Publish… Transitioning to a Digital World: Art History, Its Research Centers, and Digital Scholarship - Zorich
16. Challenges: • fear • training • defining the audience • project > product • diverse projects • collaborative projects • funding • new forms of peer- review • Evaluation of The Work Opportunities: • advancing the field • learning new skills • defining the audience • new methodologies • broadening scholarship • partnerships • funding • new forms of peer- review • Evaluation of The Work
17. Evidence: Jan. 2013 CAA receives $630,000 to develop, publish, and disseminate a code of best practices for fair use in the creation and curation of artworks and scholarly publishing in the visual arts from the Mellon Foundation. March 2013 Visual Resources Special Issue - Digital Art History (Vol 29, 1-2) March 2013 ArtStor helps launch Digital Public Library of America (DPLA) August 2013 Getty announces “Open Content” program
19. ...the more we close our work away from the public, and the more we refuse to engage in dialogue across the boundaries of the academy, the more we undermine that public’s willingness to fund our research and our institutions… Closing our work away from non-scholarly readers, and keeping our conversations private, might protect us from public criticism, but it can’t protect us from public apathy, a condition that is, in the current economy, far more dangerous. ...only through open dialogue across the walls of the ivory tower will we have any chance of convincing the broader public, including our governmental funding bodies, of the importance of our work. - Kathleen Fitzpatrick, MLA Scholarly Communications Officer
20. mvandegrift at fsu dot edu All icons from The Noun Project. Question designed by Brenna Giessen. Museum designed by Henrique Martins Godeny Art Supplies designed by Phil Goodwin