Kunsthistorisches Institut in Florenz

Abstract Starting from the observation that the For You Page (FYP) on TikTok is the pivot point for content reception, this article seeks to understand this feed as a digital artifact and a product of collaborative human and algorithmic creation, whose existence and nature as a loop only emerge through the actions of human actors. In the first chapter, scrolling is described as a particular affordance of the FYP that repositions the viewing of images and interaction on the touchscreen. The second part focuses on the consequences of this interaction, the making of the FYP that materializes in fingerprints, introducing the concept of produsage and redefining the role of TikTok users and their cooperation with the algorithm. The last thematic chapter deals with the messiness of the FYP and the mode of its reception through scrolling that creates audiovisual noise. The final chapter elucidates questions and topics that may be pursued by subsequent scholarly investigations.

Von 2016 bis 2017 wurde das Projekt "Die Namen der Künstler. Künstlersignaturen in Europa, vom Mittelalter bis zum 18. Jahrhundert" unter Leitung von Alessandro Della Latta an der Gemäldegalerie der Staatlichen Museen zu Berlin durchgeführt. Der Fokus des von der Gerda Henkel Stiftung geförderten Vorhabens lag jedoch nicht nur auf der Malerei, jenem Medium, an das man im Zusammenhang mit Signaturen vielleicht zuallererst denkt. Vergleichend wurden auch Objekte aus dem Bode-Museum, dem Kunstgewerbemuseum und dem Kupferstichkabinett einbezogen. Somit entwickelte das Vorhaben für einen ausgewählten Bestand eine intermediale Perspektive auf Praktiken des Signierens, wie sie seit dem Spätmittelalter wesentliches Element künstlerischer Produktion waren und bis heute sind. Zentral für den Ansatz des Projekts war vor allem die Zusammenarbeit mit Kuratorinnen und Kuratoren sowie Restauratorinnen und Restauratoren der Sammlungen, sodass die auktorialen Inschriften erstmals auch unter konservatorischen und technologischen Gesichtspunkten analysiert wurden, ergänzt um philologische und paläographische Untersuchungen. Der vorliegende Band basiert auf der in diesem Zusammenhang durchgeführten Tagung "Die Namen der Künstler. Auktoriale Präsenz zwischen Bild und Schrift", die im Januar 2017 als Kooperation der Gemäldegalerie der Staatlichen Museen zu Berlin, des Kunsthistorischen Instituts der Freien Universität Berlin und des Kunsthistorischen Instituts in Florenz, Max-Planck-Institut veranstaltet und von Alessandro Della Latta konzipiert wurde. Ziel war es, ausgehend von dem Detail der Signatur Aspekte von Autorschaft und Künstleridentität in divergierenden bildkünstlerischen Medien zu sondieren und den gesellschaftlichen Status sowie intellektuellen Anspruch von Künstlern und Künstlerinnen in verschiedenen kulturellen Milieus Europas für den Zeitraum von etwa 1400 bis etwa 1700 zu diskutieren. Erfreulicherweise fanden die meisten Vorträge der Tagung in erweiterter Form Eingang in diesen Band. Darüber hinaus konnte der Aufsatz von Katja Kleinert und Claudia Laurenze-Landsberg zu Rembrandts Gemäldesignaturen gewonnen werden. Der institutionellen Verbindung des Projekts mit den Staatlichen Museen zu Berlin verdankt sich die besondere Präsenz von Objekten aus deren Sammlungen in einigen der Beiträge.

Essay| November 01 2023 Coded Objects: The Forms of Proto-Algorithmic Thinking Anna-Maria Meister Anna-Maria Meister Lise Meitner Research Group Leader, Kunsthistorisches Institut in Florenz—Max Planck Institute and Professor for Architecture Theory, Department of Architecture, KIT Karlsruhe Institute of Technology anna-maria.meister@khi.fi.it Search for other works by this author on: This Site PubMed Google Scholar anna-maria.meister@khi.fi.it Historical Studies in the Natural Sciences (2023) 53 (5): 518–528. https://doi.org/10.1525/hsns.2023.53.5.518 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Anna-Maria Meister; Coded Objects: The Forms of Proto-Algorithmic Thinking. Historical Studies in the Natural Sciences 1 November 2023; 53 (5): 518–528. doi: https://doi.org/10.1525/hsns.2023.53.5.518 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentHistorical Studies in the Natural Sciences Search Consider this office. It could be the view into a creative practice, with models and drawings strewn across desks, hung on walls, or stuffed into shelves. Or, backing up: consider the digital reproduction of a photograph originally taken in the office of the architect Frank Gehry. Gehry’s office is “digital” in more than one sense, not only because you are almost certainly viewing it as a digital image. But it was also in this office, in the 1990s, that Gehry proposed new digital modes of form-making and production, with staff developing their own software to optimize and translate their projects’ complex geometries. Gehry thus paved the way for the representation of his office in this exhibit and architecture’s digital turn. And yet calling it “digital” is not that simple. Depicted at the office’s center are, after all, people—surrounded by the very analog “stuff” of architectural practice, not least the... You do not currently have access to this content.

In museums, indoor air quality plays a fundamental role in the visitors and staff well-being as well as in the deterioration processes of the exhibit objects. Due to some complaints dealing with poor air quality conditions reported by the occupants, a preliminary survey in some rooms of the Uffizi Gallery in Florence was carried out. To assess indoor temperature, relative humidity, chemical and microbiological pollutants in the museum, a methodology of investigation and evaluation of the results was defined and applied to several rooms of the Gallery. The survey aim is to underline the presence of critical issues in order to determine the pollutant concentration and compare the sampled values with the limits reported in Italian standards, technical regulation and guidelines. The preliminary results can be used to plan a deepen investigation with a more detailed sampling of specific pollutants. In this paper the results regarding a representative room are shown and discussed.

The traditional view of late antique Jewish art is that there was none. Or, insofar as there was some, it ought not to have existed.1 This represents a deep cultural reflex about 'Jewish aniconism' whose origins in Judaic Scripture itself were replicated in ancient Graeco-Roman accounts of the Jews.2 In this sense both within antiquity and also in modernity, Judaism has been associated with a resistance to images by contrast with the aesthetically paradigmatic heritage of Hellenism. In terms of the complex of difficulties about, and reluctances to, images experienced by the religions which emerged in part in the wake of Judaism – namely Christianity and Islam – the idealized model of a prior Jewish aniconism and of simple worship, scripturally informed, by contrast with the risks of pagan idolatry that many Christians and Muslims long suspected to lie in art, has been a powerful factor in shaping religious ideology throughout late antiquity, the Middle Ages, the era of the Reformation and into modernity.3