Deep Art History: Inferences between 'Google Arts & Culture' and Art Museums

TY - CHAP

T1 - Deep Art History

T2 - Inferences between 'Google Arts & Culture' and Art Museums

AU - Philipsen, Lotte

PY - 2024/11

Y1 - 2024/11

N2 - The text compares the Al methods used by the online platform Google Art & Culture with the application of Al methods on the websites of the national galleries in Denmark and Norway. By re-activating theoretical insights offered by art historian Norman Bryson in the 1980s, the chapter critically examines the methodological opaqueness resulting from the art museums' use of Al. By applying Al methods to their websites, the national galleries aim to open their collections to the broader public. However, paradoxically, this process obfuscates the underlying premisses for how the works of art are presented, how they are connected, and, hence, how meaning is ascribed to the works. @font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face {font-family:Aptos; panose-1:2 11 0 4 2 2 2 2 2 4; mso-font-charset:0; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:536871559 3 0 0 415 0;}@font-face {font-family:Garamond; panose-1:2 2 4 4 3 3 1 1 8 3; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:647 2 0 0 159 0;}@font-face {font-family:"Times New Roman \(Body CS\)"; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-alt:"Times New Roman"; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:auto; mso-font-signature:0 0 0 0 0 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Garamond",serif; mso-fareast-font-family:Aptos; mso-fareast-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman \(Body CS\)"; mso-font-kerning:1.0pt; mso-ligatures:standardcontextual; mso-fareast-language:EN-US;}.MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:"Garamond",serif; mso-ascii-font-family:Garamond; mso-fareast-font-family:Aptos; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Garamond; mso-bidi-font-family:"Times New Roman \(Body CS\)"; mso-fareast-language:EN-US;}div.WordSection1 {page:WordSection1;}

AB - The text compares the Al methods used by the online platform Google Art & Culture with the application of Al methods on the websites of the national galleries in Denmark and Norway. By re-activating theoretical insights offered by art historian Norman Bryson in the 1980s, the chapter critically examines the methodological opaqueness resulting from the art museums' use of Al. By applying Al methods to their websites, the national galleries aim to open their collections to the broader public. However, paradoxically, this process obfuscates the underlying premisses for how the works of art are presented, how they are connected, and, hence, how meaning is ascribed to the works. @font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face {font-family:Aptos; panose-1:2 11 0 4 2 2 2 2 2 4; mso-font-charset:0; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:536871559 3 0 0 415 0;}@font-face {font-family:Garamond; panose-1:2 2 4 4 3 3 1 1 8 3; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:647 2 0 0 159 0;}@font-face {font-family:"Times New Roman \(Body CS\)"; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-alt:"Times New Roman"; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:auto; mso-font-signature:0 0 0 0 0 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Garamond",serif; mso-fareast-font-family:Aptos; mso-fareast-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman \(Body CS\)"; mso-font-kerning:1.0pt; mso-ligatures:standardcontextual; mso-fareast-language:EN-US;}.MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:"Garamond",serif; mso-ascii-font-family:Garamond; mso-fareast-font-family:Aptos; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Garamond; mso-bidi-font-family:"Times New Roman \(Body CS\)"; mso-fareast-language:EN-US;}div.WordSection1 {page:WordSection1;}

KW - artificial intelligence

KW - art history methods

KW - national galleries

KW - new art history

KW - critical analysis

UR - https://intellectdiscover.com/docserver/fulltext/9781789389760/9781789389746-c06.pdf?expires=1732716388&id=id&accname=guest&checksum=6440F0B84E37FDBD73677EBAD698B6C3

U2 - 10.1386/9781789389760_7

DO - 10.1386/9781789389760_7

M3 - Book chapter

SN - 9781789389760

SP - 100

EP - 122

BT - Critical Digital Art History

A2 - Dahlgren, Anna

A2 - Wasielewski, Amanda

PB - Intellect Ltd.

ER -