Jean Marie C AREY
7. Dall’immagine al quadro
La parola “digitale” in “Digital Humanities” significa che lavoriamo con diverse forme di immagini digitali e digitalizzate ottenute con vari metodi – e quindi sempre indirettamente tramite i codici computerizzati – che si traducono in nuove immagini: la riproduzione digitale del dipinto originale, l’animazione interattiva di una riproduzione digitale, la visualizzazione della percezione di un’opera d’arte, la visualizzazione dei dati quantitativi per il mercato dell’arte o la visualizzazione di raccolte di immagini basate sul ragionamento applicato. La storia dell’arte digitale non solo analizza le immagini, ma produce anche nuove immagini. Così la nuova storia dell’arte supera la tradizionale storia dell’arte testuale, e crea una disciplina che si occupa dell’analisi della tradizione scritta, per poi presentarla attraverso visualizzazioni.
Nell’introduzione ho affermato che la storia dell’arte digitale è un ottimo complemento per gli studi di digital humanities basati sul testo. Quindi, vorrei concludere sottolineando che, nel sapere degli studi umanistici in generale, l’immagine non è da sottovalutare: gli storici e gli studiosi di arte hanno sempre fatto ricorso alle immagini come fonte, e con sempre maggiore frequenza usano le immagini per visualizzare i risultati delle analisi di grandi quantità di dati per renderli più comprensibili.
Riferimenti delle immagini
Figura 1: Franz Marc, Hund vor der Welt, 1912 (Collezione privata, Switzerland).
Figura 2: Robert Delaunay, Simultanfenster auf die Stadt, 1912 (Hamburg, Hamburger
Kunsthalle).
Figura 3: August Macke, Großes helles Schaufenster, 1912 (Hannover, Sprengel Museum). Figura 4: Alterazione di Franz Marc’s Die kleinen blaue Pferde dal Kunst Depot 24 Website
(https://www.kunstdepot24.de/)
Figura 5: Franz Marc, Die kleinen blauen Pferde, 1911 (Stuttgart, Staatsgalerie Stuttgar). Figura 6: Fabio Giampietro e Alessio De Vecchi, installazione Hyperplanes of Simultaneity, 2016.
((http://www.hyperplanesofsimultaneity.com/it/), Milano Palazzo Reale).
Figura 7: schermata del gioco di Artigo mentre riceve descrizioni oggettive e soggettive dell’opera
di Franz Marc Die gelbe Kuh, 1911 (in: Artigo.org via „On_Culture“ http://www.on- culture.org/journal/perspectives/the-wisdom-of-crowds/).
Figura 8: Franz Marc, Turm der blauen Pferde, 1911. Disperso dal 1945. (Riprodotto a Hoberg,
A. and Jansen, I. (2004), Franz Marc: The Complete Works, v.1, London, Philip Wilson).
Figura 9: The “Garden Party”, rilievo dal North Palace of Ashurbanipal, Nineveh, Iraq, 645 A.C.
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JEAN MARIE CAREY is a Ph.D. candidate in Art History/Germanistik at the University of
Otago and an Erasmus fellow at Universität Kassel. Besides digital humanities, she mainly studies the Einfühlung-Nachträglichkeit effects of images of animals using the work of Franz Marc as a touchstone. Her work has appeared in Expressionismus, KAPSULA, sehepunkte.de,
TextPraxis, and the Italian Art Society’s journal, for which she is a staff writer.