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Thibault Usel; Nicola Carboni;Béatrice Joyeux-Prunel | Das Kunstmuseum im digitalen Zeitalter – 2023
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Thibault Usel; Nicola Carboni; Béatrice Joyeux-Prunel (University of Geneva) - Linked Open Data for Horizontal Integration of Exhibition Information
Digital methods can help analyse and visualise artistic circulation across the globe, making evident the impact of specific artworks and the evolution of visual trends. For such work, the many digitised exhibition records and museum repertories provide us with a large number of digital sources to examine art circulation at a global scale. However, the digital analysis of exhibitions suffers from the absence of a shared conceptualisation and a dispersion of information across different sources, described using diverse schemas and presenting very different informational content. This contribution proposes a solution for integrating such distribute information using the Linked Open Data framework.
The contribution will present the developed model and resulting data, demonstrating its ability to share and integrate exhibition information in order to study the multifaceted circulation of art. Its implementation will not only promote wider analysis of the exhibition data in global contexts, but also help foster a decentralised environment, where each institution can retain authority over its collection, sharing the data while escaping the angst of forced centralization and the resulting accommodation to external policies.
Thibault Usel has a Bachelor of Arts in the Study of Religions and a Master Arts in Indian Languages and Culture with a specialisation in Literary Translation, both from the University of Lausanne. He is now concluding a second Bachelor’s in Information Sciences at the Haute École de Gestion of Geneva. Currently, he is completing a stage at the Digital Humanities unit at the University of Geneva, where he worked on data management and data modelling.
Nicola Carboni is a Postdoctoral Fellow at the University of Geneva. Previously Research Fellow for the Swiss Art Research Infrastructure at the University of Zurich and Digital Humanities Fellowship at Villa I Tatti – Harvard University. He completed his PhD in Engineering, on the topic of Knowledge Representation and Visual Heritage, at the CNRS & NTUA where he was also previously appointed Marie Curie Fellow. His research focuses on the use of digital frameworks for the formalization and analysis of tangible and intangible characteristics of visual content.
Béatrice Joyeux-Prunel is a contemporary art historian. She is a Professor at the University of Geneva (Switzerland), Chair of Digital Humanities. She coordinates the Visual Contagions project at the University of Geneva, and the Jean-Monnet IMAGO European Centre of Excellence at the Ecole Normale Supérieure in Paris where she taught contemporary art history from 2006 to 2019. As a specialist in artistic and visual globalisation, her work as a historian combines computational methods with more traditional approaches (art history, social and political history). Béatrice Joyeux-Prunel has published a now classic trilogy on the globalisation of modern art and the avant-garde: Les avant-gardes artistiques. Une histoire transnationale (Gallimard, Folio histoire: 2016; 2018. Volume 1: 1848–1918; Volume 2: 1918 –1945), and Naissance de l‘art contemporain 1945–1970. Une histoire mondiale (CNRS Editions: 2021).
Digital methods can help analyse and visualise artistic circulation across the globe, making evident the impact of specific artworks and the evolution of visual trends. For such work, the many digitised exhibition records and museum repertories provide us with a large number of digital sources to examine art circulation at a global scale. However, the digital analysis of exhibitions suffers from the absence of a shared conceptualisation and a dispersion of information across different sources, described using diverse schemas and presenting very different informational content. This contribution proposes a solution for integrating such distribute information using the Linked Open Data framework.
The contribution will present the developed model and resulting data, demonstrating its ability to share and integrate exhibition information in order to study the multifaceted circulation of art. Its implementation will not only promote wider analysis of the exhibition data in global contexts, but also help foster a decentralised environment, where each institution can retain authority over its collection, sharing the data while escaping the angst of forced centralization and the resulting accommodation to external policies.
Thibault Usel has a Bachelor of Arts in the Study of Religions and a Master Arts in Indian Languages and Culture with a specialisation in Literary Translation, both from the University of Lausanne. He is now concluding a second Bachelor’s in Information Sciences at the Haute École de Gestion of Geneva. Currently, he is completing a stage at the Digital Humanities unit at the University of Geneva, where he worked on data management and data modelling.
Nicola Carboni is a Postdoctoral Fellow at the University of Geneva. Previously Research Fellow for the Swiss Art Research Infrastructure at the University of Zurich and Digital Humanities Fellowship at Villa I Tatti – Harvard University. He completed his PhD in Engineering, on the topic of Knowledge Representation and Visual Heritage, at the CNRS & NTUA where he was also previously appointed Marie Curie Fellow. His research focuses on the use of digital frameworks for the formalization and analysis of tangible and intangible characteristics of visual content.
Béatrice Joyeux-Prunel is a contemporary art historian. She is a Professor at the University of Geneva (Switzerland), Chair of Digital Humanities. She coordinates the Visual Contagions project at the University of Geneva, and the Jean-Monnet IMAGO European Centre of Excellence at the Ecole Normale Supérieure in Paris where she taught contemporary art history from 2006 to 2019. As a specialist in artistic and visual globalisation, her work as a historian combines computational methods with more traditional approaches (art history, social and political history). Béatrice Joyeux-Prunel has published a now classic trilogy on the globalisation of modern art and the avant-garde: Les avant-gardes artistiques. Une histoire transnationale (Gallimard, Folio histoire: 2016; 2018. Volume 1: 1848–1918; Volume 2: 1918 –1945), and Naissance de l‘art contemporain 1945–1970. Une histoire mondiale (CNRS Editions: 2021).
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