Art History is centrally concerned with a vast array of three-dimensional objects, such as sculptures, and spaces, such as architecture. Digital technologies allow the creation of virtual spaces, which in turn allow us to simulate and compare aspects of a visual culture's three-dimensional timespace that cannot be communicated as a single, still image. The third issue, thus, focusses on the third dimension in Art History, and the digital realm that continues to mediate and transform it.

"An innovative application of economic methods to the study of art history, demonstrating that new insights can be uncovered by using quantitative and qualitative methods together, which sheds light on longstanding disciplinary inequities"--

The 6-volume set, comprising the LNCS books 12535 until 12540, constitutes the refereed proceedings of 28 out of the 45 workshops held at the 16th European Conference on Computer Vision, ECCV 2020. The conference was planned to take place in Glasgow, UK, during August 23-28, 2020, but changed to a virtual format due to the COVID-19 pandemic. The 249 full papers, 18 short papers, and 21 further contributions included in the workshop proceedings were carefully reviewed and selected from a total of 467 submissions. The papers deal with diverse computer vision topics. Part II focusses on commands for autonomous vehicles; computer vision for ART analysis; sign language recognition, translation and production; visual inductive priors for data-efficient deep learning; 3D poses in the wild challenge; map-based localization for autonomous driving; recovering 6D object pose; and shape recovery from partial textured 3D scans.

The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on trans-disciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education.

This open access handbook presents a multidisciplinary and multifaceted perspective on how the ‘digital’ is simultaneously changing Russia and the research methods scholars use to study Russia. It provides a critical update on how Russian society, politics, economy, and culture are reconfigured in the context of ubiquitous connectivity and accounts for the political and societal responses to digitalization. In addition, it answers practical and methodological questions in handling Russian data and a wide array of digital methods. The volume makes a timely intervention in our understanding of the changing field of Russian Studies and is an essential guide for scholars, advanced undergraduate and graduate students studying Russia today.

Digital history is commonly argued to be positioned between the traditionally historical and the computational or digital. By studying digital history collaborations and the establishment of the Luxembourg Centre for Contemporary and Digital History, Kemman examines how digital history will impact historical scholarship. His analysis shows that digital history does not occupy a singular position between the digital and the historical. Instead, historians continuously move across this dimension, choosing or finding themselves in different positions as they construct different trading zones through cross-disciplinary engagement, negotiation of research goals and individual interests.

As a result of rapid advancements in computer science during recent decades, there has been an increased use of digital tools, methodologies and sources in the field of digital humanities. While opening up new opportunities for scholarship, many digital methods and tools now used for humanities research have nevertheless been developed by computer or data sciences and thus require a critical understanding of their mode of operation and functionality. The novel field of digital hermeneutics is meant to provide such a critical and reflexive frame for digital humanities research by acquiring digital literacy and skills. A new knowledge for the assessment of digital data, research infrastructures, analytical tools, and interpretative methods is needed, providing the humanities scholar with the necessary munition for doing critical research. The Doctoral Training Unit "Digital History and Hermeneutics" at the University of Luxembourg applies this analytical frame to 13 PhD projects. By combining a hermeneutic reflection on the new digital practices of humanities scholarship with hands-on experimentation with digital tools and methods, new approaches and opportunities as well as limitations and flaws can be addressed.

This volume brings together selected papers covering topics related to the contemporary cultural heritage research framework within the field of Digital Humanities (DH). Intended for scholars, students and practitioners, the book provides the reader with insights into the description and access, and digitization of cultural heritage. It also explores Croatian Glagolitic and Latin written heritage as a source for historiographic and linguistic research. It is organized into seven topics, each questioning one of the research areas within the DH framework, namely DH as a contemporary cultural heritage research framework; the description of, and access to, cultural heritage; the digitization of cultural heritage; written heritage as a source for historiographic and linguistic research; literary studies; research and communication of cultural heritage; and education in the field of DH.

How our image of the Renaissance’s most famous artist is a modern myth Leonardo da Vinci (1452–1519) never signed a painting, and none of his supposed self-portraits can be securely ascribed to his hand. He revealed next to nothing about his life in his extensive writings, yet countless pages have been written about him that assign him an identity: genius, entrepreneur, celebrity artist, outsider. Addressing the ethical stakes involved in studying past lives, Stephen J. Campbell shows how this invented Leonardo has invited speculation from figures ranging from art dealers and curators to scholars, scientists, and biographers, many of whom have filled in the gaps of what can be known of Leonardo’s life with claims to decode secrets, reveal mysteries of a vanished past, or discover lost masterpieces of spectacular value. In this original and provocative book, Campbell examines the strangeness of Leonardo’s words and works, and the distinctive premodern world of artisans and thinkers from which he emerged. Far from being a solitary genius living ahead of his time, Leonardo inhabited a vibrant network of artistic, technological, and literary exchange. By investigating the politics and cultural tensions of the era as well as the most recent scholarship on Leonardo’s contemporaries, workshop, and writings, Campbell places Leonardo back into the milieu that shaped him and was shaped by him. He shows that it is in the gaps and contradictions of what we know of Leonardo’s life that a less familiar and far more historically significant figure appears.

Over the past two decades, scholarship in architectural history has transformed, moving away from design studio pedagogy and postmodern historicism to draw instead from trends in critical theory focusing on gender, race, the environment, and more recently global history, connecting to revisionist trends in other fields. With examples across space and time—from medieval European coin trials and eighteenth-century Haitian revolutionary buildings to Weimar German construction firms and present-day African refugee camps—Writing Architectural History considers the impact of these shifting institutional landscapes and disciplinary positionings for architectural history. Contributors reveal how new methodological approaches have developed interdisciplinary research beyond the traditional boundaries of art history departments and architecture schools, and explore the challenges and opportunities presented by conventional and unorthodox forms of evidence and narrative, the tools used to write history.