This page was created by Emily. The last update was by Kate Mondloch.
About this Project
NOTE: THIS PROJECT HAS NOT BEEN UPDATED SINCE ITS CREATION IN 2019. THANKS FOR YOUR PATIENCE IF YOU ENCOUNTER ANY HICCUPS WITH THE TECHNOLOGY OR DESIGN.
This project has been supported by the Getty Foundation's Digital Art History initiative, UCLA Digital Humanities, University of Oregon Digital Scholarship Center and the UO's New Media and Culture Certificate. I'm especially grateful for the hard work and good humor of my graduate research assistants at the University of Oregon, Alison Parman and Emily Shinn. Many thanks also to my comrades in the UCLA digital art history boot camp in 2014 and to our fearless leaders, Johanna Drucker, Steven Nelson, Todd Presner and Miriam Posner. The graduate students in my Digital Humanities for Art History seminars have been terrific interlocutors. Thanks, as always, to the University of Minnesota Press for their unwavering support of my scholarship in both print and digital forms.
I'm appreciative of Tara McPherson for the invitation to explore the Scalar platform in a workshop at USC in 2012, and to USC's Curtis Fletcher, who has generously helped troubleshoot this project from afar. Scalar is the ideal cms for this project because of the platform's scholarly credentials, emphasis on moving images, and built-in opportunities for data visualizations. See more details about Scalar in our project methodology.
The broader potential for collecting and studying user-generated video uploads in a systematic way of course extends beyond the delimited confines of this digital publication. Future research using social media uploads might include data- or cultural-analytics based on readily available metadata (for example, focusing on specific authors, social media platforms, duration, or user comments), or even engaging in close readings of the videos themselves (for instance, analyzing the camera angle, ambient audio, mobility of the video maker, etc.). Although in its current form Installation Archive is limited to the handful of installations studied in my print book, it provides a digital humanities/digital art history prototype for studying installation art and its spectatorship and functions as a “proof of concept” for large-scale archival projects of social media user-generated videos.
This project has been supported by the Getty Foundation's Digital Art History initiative, UCLA Digital Humanities, University of Oregon Digital Scholarship Center and the UO's New Media and Culture Certificate. I'm especially grateful for the hard work and good humor of my graduate research assistants at the University of Oregon, Alison Parman and Emily Shinn. Many thanks also to my comrades in the UCLA digital art history boot camp in 2014 and to our fearless leaders, Johanna Drucker, Steven Nelson, Todd Presner and Miriam Posner. The graduate students in my Digital Humanities for Art History seminars have been terrific interlocutors. Thanks, as always, to the University of Minnesota Press for their unwavering support of my scholarship in both print and digital forms.
I'm appreciative of Tara McPherson for the invitation to explore the Scalar platform in a workshop at USC in 2012, and to USC's Curtis Fletcher, who has generously helped troubleshoot this project from afar. Scalar is the ideal cms for this project because of the platform's scholarly credentials, emphasis on moving images, and built-in opportunities for data visualizations. See more details about Scalar in our project methodology.
The broader potential for collecting and studying user-generated video uploads in a systematic way of course extends beyond the delimited confines of this digital publication. Future research using social media uploads might include data- or cultural-analytics based on readily available metadata (for example, focusing on specific authors, social media platforms, duration, or user comments), or even engaging in close readings of the videos themselves (for instance, analyzing the camera angle, ambient audio, mobility of the video maker, etc.). Although in its current form Installation Archive is limited to the handful of installations studied in my print book, it provides a digital humanities/digital art history prototype for studying installation art and its spectatorship and functions as a “proof of concept” for large-scale archival projects of social media user-generated videos.