diff --git a/evenements/2024-05-30-en.md b/evenements/2024-05-30-en.md new file mode 100644 index 0000000..927c3da --- /dev/null +++ b/evenements/2024-05-30-en.md @@ -0,0 +1,214 @@ +--- +title: "L’Ouvroir at DHNB" +subtitle: '' +dateStart: 2024-05-28 +dateEnd: 2024-05-31 +timeStart: 09:00am +timeEnd: 14:00pm +place: Reykjavik, Iceland +link: https://dhnb.eu/conferences/dhnb2024/ +description: "Certains membres de l’Ouvroir présentent cette semaine au DHNB2024" +participants: [Alice Truc, Léa Maronet, Lena Krause, Zoë Renaudie] +draft: false +--- + +Some of our PHD students are presenting in Digital Humanities in the Nordic and Baltic countries this year. The subject of this year edition is ## **FROM EXPERIMENTATION TO EXPERIENCE: LESSONS LEARNED FROM THE INTERSECTIONS BETWEEN DIGITAL HUMANITIES AND CULTURAL HERITAGE** + +## Interactive visualisation of GLAM+ data by Lena Krause +2024-05-28 +Half-day tutorial\ +Topics: The life cycle of digital humanities and arts projects, Art history, Galleries and museum studies, cultural heritage data, visualization\ +Keywords: data visualisation, interactive visualisation, javascript, GLAM, notebooks\ + +Interactive visualisation of GLAM+ data + +*Lena Krause*1,2 + +1Maison MONA; 2Université de Montréal + +The proposal for this tutorial is a participatory demonstration of data visualisation, focusing on content exploration and analysis using interactive inputs. The term *GLAM+ data* leans toward a more inclusive definition of cultural heritage or GLAM data. Smaller or unconventional non-profit cultural organisations, local councils and educational institutions are also engaged in preserving, documenting, and mediating art and culture, as well as in creating and disseminating datasets. + +Such GLAM+ data typically documents a series of objects, such as artworks or archival documents. As they are all described with the same properties, one can visualise them in timelines, categorical charts, etc. Participants with coding experience may bring their own dataset or sample in JSON or CSV (if you haven't collected your data yet, you can create a demo sample to use during the course, and update your dataset source once it is ready). Participants with little or no coding experience are welcome to the tutorial as a way to read through the code and understand the process behind it. Peer-coding or partnering up to share knowledge is recommended, and there will be time to form small groups at the beginning of the tutorial. + +The demonstration will begin with an introduction to Notebook environments on the Observable platform. Observable can be used as a web-hosted sandbox for playing with data and visualising it. It enables collaborative exploration, analysis, visualisation, and communication of data. Public individual and collective workspaces are free, favouring an open-source policy and generating a trove of examples to learn from or to fork. Coding itself is in Javascript, using the librairies Plot and D3.js. + +The workshop will focus on a single notebook (provided) allowing all to follow step by step, with the possibility of forking it to add comments or to make some twists, such as using your own data. After a brief overview of the goal of the visualisation, we will examine each step required to produce it, including: + +* getting data in JSON or CSV from an API, file link or simple upload +* exploring the content of the dataset +* cleaning or preparing it for the visualisation +* choosing the inputs and filters +* updating the output data based on the selection +* visualising it and thinking about scales, colours and interactions such as hover and clicks + +We will also look at other examples on Observable, thus seeing a wide array of code and visualisations whilst exploring one in depth and detail. + +**Learning outcomes** + +* discover the Observable platform and its notebooks +* understand the main steps of interactive data visualisation +* handle typical GLAM+ data challenges +* learn to use the Plot javascript library +* take in some d3.js code examples + +**Target audience**: all welcome. Computer scientists, digital humanists and cultural heritage workers alike, the tutorial is organised for a collective experience and sharing knowledge. + +**Anticipated number of participants**: max ~ 15 to 20 participants + +**Ideal length**: 3 hours + +**Technical requirements**: participants should bring their own laptop and have WIFI access. They can create an Observable account or use their Github identifiers to log into the platform. + +**Instructor**: Lena MK is an art historian and computer scientist, currently working as CTO of Maison MONA and as lab manager at Ouvroir Laboratory of Digital Art History and Museology, University of Montreal (UdeM). Specialising in data visualisation for cultural data, she is also a PhD candidate in art history and research-creation at UdeM and teaches data visualisation (HNU3056-6056) in the digital humanities program there. + +Bibliography\ +Links for the tutorial\ +Observable: \ +Plot.js: @observablehq/plot-gallery\ +D3.js:\ +\- @d3/gallery\ +\- \ +\ +Links about the instructor\ +\- personal website: \ +\- Maison MONA: \ +\- Ouvroir Laboratory of Digital Art History and Museology: \ +\- Data visualisation course, HNU3056-6056: @lenamk/plan-du-cours-hnu6056-hnu3056?collection=@lenamk/hnu6056 + +## Not Following the Book: A Journey from Museum Conservator to Digital Humanities Researcher through the Creation of a Contemporary Art Management Database by Zoë Renaudie +2024-05-30 +10:45am - 11:00am\ +ID: 145 / SESSION#04: 2\ +Short paper (abstract) | 10-minute presentation with a 5-minute Q\&A\ +Keywords: collection management, exhibition production, database, museum, conservation\ + +Not Following the Book: A Journey from Museum Conservator to Digital Humanities Researcher through the Creation of a Contemporary Art Management Database + +*Zoë Renaudie* + +Université de Montréal, Canada + +This paper recounts the transformative journey of a museum conservator thrust into the realm of Digital Humanities through the inception of a groundbreaking database for managing contemporary art collections and facilitating exhibition production. The narrative unfolds at Luma Arles in France, where, as an assistant conservator, I unexpectedly became the project owner for a crucial collection management database initiative. Initiated in conjunction with the opening of Luma Arles in the summer of 2021, the project aimed to address the unique challenges posed by the dynamic nature of contemporary art. + +The intricacies of the project involved grappling with existing private solutions that proved inadequate for the institution's needs and overcoming the shortcomings of an agile method adopted by the previous project owner. Upon the departure of the original project owner, the endeavor faced dissolution due to its perceived high cost and lengthy production timeline. Faced with the essential need for a database, I assumed responsibility for the project and proposed alternative solutions, leading to the successful realization of the database. + +This paper illuminates the unconventional path taken during the database creation, highlighting both successful and unsuccessful practices. It emphasizes the importance of deviating from conventional approaches, revealing instances where embracing chaos and fostering a collaborative making process proved more efficient than strictly adhering to established methodologies. + +Key aspects to be discussed include the evolution of the database creation process, challenges faced, and the ultimate solution devised. Furthermore, the narrative delves into the strategies employed to engage professionals from various sectors, emphasizing the transformation of the database from a mere archival tool to a dynamic and indispensable asset in the management of contemporary art collections. + +As a conservator intimately involved in the project, I will delve into the intricacies of collection management, exploring the diverse types of data related to both the physical and conceptual aspects of artworks. Special attention will be given to the utilization of digital solutions as tools for conservation, particularly in the context of multimedia, performance, and installation artworks, showcasing the complexity that the project aimed to comprehend and manage. + +This presentation extends beyond the project's technical aspects, sharing personal insights and experiences as an untrained project owner who, amidst challenges, discovered the realm of Digital Humanities. The culmination of this transformative journey has inspired the pursuit of a Ph.D. in Art History at the Université de Montréal (CA), supervised by Emmanuel Château-Dutier in the Research Digital Humanities Laboratory called l’\[Ouvroir]\(https://ouvroir.umontreal.ca/accueil). + +In this Ph.D, I approach the question of exhibition conservation using a conceptual framework that considers it as a network of interconnected elements. To grasp this, I plan to consult the sociological notion of a boundary object (Star and Griesemer 1989), whose materiality arises from action rather than physicality. This concept also emphasizes the links between social worlds, allowing for different considerations of the object. Concurrently, the actor-network theory (Akrich, Callon, and Latour 2006) will define a referential state based on a set of multiple properties located in various times and spaces, involving multiple actors. + +I also intend to invoke Jean-Pierre Cometti's investigation methodology in philosophy (2016), which opens the profession to a more biographical and holistic approach. This practice is also found in conservation-restoration theories of contemporary art and deemed complex works (Saaze 2009; Scholte and Wharton 2011; Stigter 2017). These will play a central role in the work I intend to develop. The creation of the documentary model will also involve a theoretical framework specific to digital humanities (Schweibenz and Scopigno 2018; Barok et al. 2019), for which I will analyze the CIDOC-CRM ontology of ICOM following the documentation logic created by and for conservation-restoration (Leveau 2012). With this interdisciplinary approach, I propose to envision a tool to capture the complexity of exhibitions in collaboration with the Partnership for New Uses of Collections in Art Museums with \[CIECO]\(https://cieco.co/fr). + +My research, in general, aims to explore ways to make digital tools accessible for museum professionals. I wish to expand perspectives on Galleries, Libraries, Archives, and Museums (\[GLAM]\(https://glamdatasci.network/)) and advocate for alternative solutions in addition to traditional relational databases. The paper underscores the use of hands-on experience, adaptability, and a willingness to embrace innovation in successfully navigating the intersections between contemporary art, conservation, and the evolving landscape of Digital Humanities, as I understand it. + +Bibliography\ +Akrich, Madeleine, Michel Callon, et Bruno Latour. 2006. Sociologie de la traduction : textes fondateurs. Collection sciences sociales. Paris: Mines Paris, les Presses.\ +\ +Barok, Dušan, Julie Boschat Thorez, Annet Dekker, David Gauthier, et Claudia Roeck. 2019. « Archiving Complex Digital Artworks ». Journal of the Institute of Conservation 42 (2): 94‑113.\ +\ +Cometti, Jean-Pierre. 2016. Conserver/Restaurer : l’oeuvre d’art à l’époque de sa préservation technique. NRF essais. Paris: Gallimard.\ +\ +Leveau, Pierre. 2012. « Les enjeux philosophiques de la documentation en conservation-restauration. » Conservation-restauration des biens culturels - Cahier technique, no 19: 3‑10.\ +\ +Saaze, Vivian van. 2009. « Doing Artworks. An ethnographic account of the acquisition and conservation of No Ghost Just a Shell ». Krisis, février.\ +\ +Scholte, Tatja, et Glenn Wharton, éd. 2011. Inside installations: theory and practice in the care of complex artworks. Cultural Heritage Agency of the Netherlands. Amsterdam: Amsterdam University Press.\ +\ +Schweibenz, Werner, et Roberto Scopigno. 2018. « Documenting Past Exhibitions: Why and How Information Technology Could Help to Preserve Dismantled Shows ». Uncommon Culture 7 (1/2, Cultural Heritage, Real\&Virtual): 75‑85.\ +\ +Star, Susan Leigh, et James R Griesemer. 1989. « Institutional Ecology, “Translations” and Boundary Objects: Amateurs and Professionals in Berkeley’s Museum of Vertebrate Zoology, 1907-39 ». Social Studies of Science Vol. 19 (No. 3): 387‑420.\ +\ +Stigter, Sanneke. 2017. « A Behaviour Index for Complex Artworks: A Conceptual Tool for Contemporary Art Conservation ». In CONTEMPORARY ART, 8. Paris: ICOM-CC. + + +## Transfer learning in digital art history: a flagrant need of standards for patrimonial images segmentation by Léa Maronet and Alice Truc +2024-05-30 +11:15am - 11:30am\ +ID: 121 / SESSION#04: 4\ +Short paper (abstract) | 10-minute presentation with a 5-minute Q\&A\ +Keywords: digital art history, digital humanities, history of art, segmentation, computer vision\ + + +Transfer learning in digital art history: a flagrant need of standards for patrimonial images segmentation + +*Léa Maronet*1, *Alice Truc*2 + +1École Pratique des Hautes Études, France - Université de Montréal, Canada - Centre National de la Recherche Scientifique, France; 2Université Rennes 2, France - Université de Montréal, Canada + +Since Johanna Drucker questioned the existence of a “digital art history” (Drucker, 2013), the last decade has seen a growing number of art historical projects make use of methods such as automatic pattern recognition, confirming the transfer of a technology born in the narrow field of computer vision to a growing number of researchers. However, digital art history remains a fragmented field: until now, these projects have not seriously interacted with each other, as they preferred to develop their own technical and methodological solutions. While the prevailing project-based logic offers fresh insights and original solutions to similar problems, it requires a significant financial and time investment, large quantities of data and technical skills that are not accessible to all research units, let alone all researchers (Romein and al., 2020, 310). Our communities would benefit from pooling together our efforts to help reduce these costs and reduce research obstacles. + +Such a project-based logic has for consequence to impose limits on the standardization of digital practices, both in terms of data recording and algorithm training. In particular, image segmentation - an operation which involves detecting and grouping pixels according to zones of interest by recording their coordinates, which is at the heart of computer vision and pattern recognition tasks - is not subject to any standards or harmonization. However, the adoption of standards is not totally missing from the field of digital art history: there are, for example, standards such as *DublinCore* (DCMI Usage Board, 2012), or projects such as *Metadata Culture*, for the registration of metadata (Näslund & al., 2020). The production of ontologies, such as *IconClass* (Posthumus & Brandhorst, 2005) or *SegmOnto* (Gabay et al., 2023) to describe image content, is also developing. However, there is no collective program to standardize the data produced during the process of cultural images segmentation. + +It's not so much a question of trying to standardize the description of image content - an attempt that falls within the realm of ontology, and whose terms vary from one project to another, from one work of art to another - than proposing a way of harmonizing the recording of elements's coordinates within these images. Such initiatives are being produced in the field of literary studies, with projects such as *HTRUnited* (Chagué, Clérice and Romary, 2021), but in digital art history, the question remains little addressed (Bardiot, 2021). Yet having a corpus of segmented images, whose elements have been identified by their coordinates, recorded in a hierarchical and standardized way in a document, would make it possible to create ground truths that would serve as basis for training new algorithms. + +Why is this question crucial in our discipline today? The development and training of computer vision algorithms in digital art history is generally based on the technique of transfer learning, which involves using pre-existing algorithms that have already been trained, to adapt them to the specificities of new corpus. While transfer learning can reduce the amount of data required to train algorithms, and at the same time improve the results obtained, its current methods remain ill-suited to art history: the algorithms available are for the most part trained on “natural” images, which means they are not relevant to the specificity and plurality of cultural images. The lack of harmonization of the solutions proposed project after project leads to a bitter conclusion, drawn in the course of our thesis researches: the available tools evolve rapidly and become obsolete in the short term, until they are discarded; many of them are poorly documented or inaccessible to a non-expert public; others are not usable and do not work on trial for a variety of reasons, ranging from operating system incompatibility to the lack of update of the libraries used. Therefore, it appears vital to us today to pool our segmented images so that they can serve as ground truths for future research, minimizing model training while enhancing the results obtained. + +However, it is important to keep in mind that segmentation is an intellectual operation, which always proposes an interpretation of the documents it takes as its object, and must be adapted to specific research questions. How can we design digital practices and tools capable of handling segmentation tasks for different data corpora and settings, while remaining relevant to the epistemological requirements of art history and accessible to its researchers? Asking this question implies putting into tension issues of interoperability and reproducibility of patrimonial data, on the one hand, and epistemological reasoning in relation to the tools developed, on the other hand. These questions should not be addressed after tools development but upstream and should accompany the entire workflow (Stutzmann, 2010, 247‑278). To address these tensions, we will identify the specific needs of the discipline of digital art history with regard to questions of image segmentation. We will then offer a quick overview of segmentation tools that can be adapted to be functional for every art historical project. Finally, we will highlight the shortcomings and solutions that need to be developed as a priority. + +Pooling cultural ground truths is nowadays crucial if research is to move towards better integration of computer vision and automatic pattern recognition in digital art history projects. In addition to the availability of quality, properly documented and cataloged data, this pooling of resources can encourage all researchers to gradually adopt homogeneous practices allowing a better reproducibility and repurposing of data. The aim is twofold: to produce ready-to-use models and workflows adapted to cultural data, and to share data that enables these models to be produced. For the ground truths of each project to be reusable, segmentation data must be brought about according to norms and standards designed specifically for images of works of art, with a view to conceptualizing them collectively. + +Bibliography\ +Bardiot, C. (2021). Performing Arts and Digital Humanities. From Traces to Data. Wiley-ISTE. \ +Chagué, A., Clérice, T. & Romary L. (2021). “HTR-United : Mutualisons la vérité de terrain !” DHNord2021 - Publier, partager, réutiliser les données de la recherche : les data papers et leurs enjeux. Lille. hal-03398740.\ +DCMI Usage Board. (2012). “Dublin Core™ Metadata Element Set, Version 1.1: Reference Description”, Dublincore. Accessed January 18th 2023. \ +Drucker, J. (2013). “Is There a ‘Digital’ Art History?”, Visual Resources, 29 (1/2), 5‑13.\ +Gabay, S., Pinche, A., Christensen, K., Camps, J.-B. & Carboni, N. (2023). SegmOnto, A Controlled Vocabulary to Describe the Layout of Pages, version 0.9, .\ +Näslund, A., Hansson, K., Reichert, R. & Wasielewski, A. éd. (2020). “The Politics of Metadata”. Digital Culture & Society (DCS) 6, no 2.\ +Posthumus, E., & Brandhorst, H. (2005). IconClass Illustrated Edition. IconClass. \ +Romein, A. C. & al. (2020). “State of the Field : Digital History”. History, 105(365), 291‑312.\ +Stutzmann, D. (2010). Paléographie statistique pour décrire, identifier, dater... Normaliser pour coopérer et aller plus loin ? In F. Fischer, C. Fritze, & G. Vogeler (Éds.), Kodikologie und Paläographie im digitalen Zeitalter 2 = Codicology and Palaeography in the Digital Age 2 (247‑278). Herstellung und Verlag: Books on Demand. . + +# Display, Ontology and Database for Exhibition Documentation by Zoë Renaudie +2024-05-30 + +Poster and demo (abstract) with accompanying a 1-minute lightning talk\ + +Display, Ontology and Database for Exhibition Documentation + +Emmanuel Château-Dutier, Lena Krause, David Valentine, *Zoë Renaudie* +Université de Montréal + +The CIECO project is focused on mobilising and utilising extensive archival sources to document the history of art museum exhibitions and collection displays, enabling their reconstruction. L’Ouvroir is developing a tool needed to support all research operations, from collecting historical information to formulating hypotheses and recording results. + +In a frequently sparse documentary context, we propose an abstract model allowing us to record historical information about exhibition installations through a spatial approach, defining the possibilities of topological inferences between objects in the exhibition space. The first step was to design a computer ontology before conceiving a user-friendly database that will be used by art historians without specific technical skills and facilitates the creation or automated import of lists of artworks, the recording or definition of the geometry of an exhibition space, the localization of artworks in this space. + + +## Going with the Flow: Merging Research and Cultural Outreach in GLAM+ Data by Julie Graff and Lena Krause +2024-05-31 +10:45am - 11:15am\ +ID: 127 / SESSION#18: 1\ +Long paper (abstract) | 20-minute presentation with a 10-minute Q\&A\ +Topics: Cross-institutional and interdisciplinary collaborations, Art history, Galleries and museum studies, structured data (e.g. excel sheets, databases, metadata), cultural heritage data, data publishing projects, systems, and methods, mobile applications development and analysis, public humanities collaborations and methods\ +Keywords: Public art, Cultural outreach, Open data, Mobile app, GLAM\ + +Going with the Flow: Merging Research and Cultural Outreach in GLAM+ Data + +*Julie Graff*1,3, *Lena Krause*1,2, Alexia Pinto Ferretti1,2, Camille Delattre1,2, Simon Janssen1,2, Kim Trihn1,2, David Valentine1,2 + +1Maison MONA; 2Université de Montréal; 3Université du Québec à Montréal + +Maison MONA, a non-profit organization founded in 2020, is dedicated to highlighting art and culture in public spaces in Québec (Canada). Our main initiative is the development of a free mobile app (iOS and Android), MONA: it aims to spark curiosity for, and appreciation of, public art, heritage sites, and cultural spaces in Québec, by transforming their discovery into a life-size treasure hunt. To do so, we align a dozen open datasets about public art and heritage sites to generate a rich, diverse and complex panorama as a sort of "meta" cultural collection. From data collecting to cultural outreach, we follow the workflow, finding solutions and passing them on to the cultural community and to the general public, whilst promoting the exchange of knowledge and equal, nonhierarchical participation in the development of research. Our challenges lie in the often incomplete or ambiguous datasets, which are also scattered and unevenly structured. Their contents, the cultural objects themselves, are also difficult to research or, even, to actually find IRL. To establish their provenance and biographies requires accessing information located within oral history sources, physical archives and otherwise difficult to access materials. As a result, these public cultural objects (such as murals, historical buildings, or even free cultural spaces) and their corresponding data tend to remain elusive to the general public, to cultural workers, and to researchers. Bringing together professionals and young researchers from a variety of disciplines (art history, museum studies, digital humanities, computer science…) in our team, we tailor our methodology through a process of trial and error, following an action research approach. We combine a series of concrete activities (open data creation/crowd sourcing, field research, and cultural mediation), a process of knowledge sharing, and an ongoing critical reflection touching on technical, methodological, and ethical issues.\ +From the beginning, cultural mediation was a key component of our process to bridge a gap between researchers and the public. The MONA app offers a new dimension to outreach with its participatory approach. Users produce photographs, comments, and ratings, thus documenting artworks and heritage sites whilst also revealing how each individual perceive them. Such user data advances a new approach to studying art appreciation. Partnering with Art+site research group (P.I. Suzanne Paquet, Université de Montréal), we are developing a feedback loop between the general public and sociology of art researchers to better understand how public cultural objects are impacting the lived experiences of urban spaces. We will reflect on the opportunities offered, challenges faced and lessons learned from merging research and cultural outreach while working with heritage and public art open data. It will also introduce our understanding of GLAM (Galleries, Libraries, Archives, Museums), which actually includes a variety of cultural workers operating outside, yet often in relation to, these four specific institutions: we are speaking of local councils, schools (including universities), smaller or unconventional non-profit cultural organizations, and so on. We are all engaged in preserving, documenting, mediating public art and heritage sites, as well as in creating and disseminating datasets. This paper will therefore present how this loose network operates to create GLAM+ Data.\ +In order to do so, we will also focus one a case study, a public art dataset from the Magdalene Islands (Îles-de-la-Madeleine, Qc.). In 2023, we were commissioned by AdMare (Centre d'artistes en art actuel des Îles-de-la-Madeleine; Magdalene Islands' artist-run centre for contemporary art) to co-create a public art tour and its digital mediation. As Quebec has an art and architecture integration policy, we began our field work began by researching these artworks. The only available documentation was a government-issued PDF file (https://www.quebec.ca/culture/integration-oeuvres-art-public/listes-oeuvres-art-public). Beyond the format issue, this file contained rather elusive information, limited to the year of production of the artwork, the name of the artist, the institution for which it was created, and its address (at the time of creation). We had to fill a lot of gaps, starting with the title of the artworks, and updating their locations. While the AdMare team was able to provide us with crucial information, thanks to their own extensive knowledge of their territory, it remained on occasion nebulous to an outsider's viewpoint. We alternated between leg work, crossing the islands searching for public artworks, and talking with local workers from libraries, hospitals, local heritage institutions, and municipal services, all the while documenting what we learned. From this experience, we compiled a rich qualitative documentation, including photographs and testimonies.\ +With the idea of furthering digital literacy, we wanted to entrust data production to the AdMare team. Adopting tabular data, we kept the structure as simple as possible to favour durability of both the dataset and the knowledge on how to update it. This simplicity might be considered to constrict the quality of the data produced. However, we had to find a balance between respecting standards and good practices, and making the data production possible and accessible for cultural workers. We also introduced the principles of open data, which are very close to the philosophy of several artist-run centres including AdMare, and recommended publishing the dataset as a CSV export on the government open data platform, Données Québec (https://www.donneesquebec.ca/recherche/dataset/art\_public\_iles-de-la-madeleine). Tabular data also gave us a first opportunity to map these artworks and locations, a welcome visualization after our rather wild-goose chase through the isles. On our side, we added the API provided by Données Québec to our scripts, which import and update all our open data sources. This script requires some fine-tuning, checking that new data aligns with our current data model, but it allows us to automate most updates (Krause and Janssen 2023). Once the data enters the MONA server and our database, we share it to all mobile apps using our own API, creating 31 new cultural troves to be discovered throughout the islands.\ +The last part of our project with Admare was focused on giving back to the community through cultural outreach. We collaborated with local artist Gabrielle Desrosiers to design a paper map complementing the digital version available on the MONA app. The artist’s rendering focused on the Cap-aux-Meules Harbour. That last sector was also the site for several public activities organized during fall 2023, which allowed direct contact with the public. We met and discussed art and culture in public space, bringing attention to an artwork and sharing local, historical and contemporary knowledge. Participants were encouraged to use the mobile app, in which photography and the prompts to comment and rate the discoveries further a creative and participatory approach. Through these practices, we are dedicated to nurture the opportunity for each participant to develop their own perspective on the artwork, as we hold the belief that each person can and should develop their own taste and appreciation of art (Krause 2020). With the idea of durability in mind, we sought to produce sustainable outreach contents: the mobile app is freely available at all times, and the artist’s map is being distributed by Admare. We also produced teaching content for secondary school teachers.\ +By sharing this case, we hope to offer insight on the feedback loop between digital good practices and the pragmatic needs of a cultural outreach project, turning a critical and reflexive eye on these practices for a collective learning experience. Our conclusion will, moreover, focus on our current uses for this dataset in the research context, through the analysis of user-generated content, on the one hand, and through the production of Linked Open Data on the other hand (Delattre et al. 2024 (forthcoming)). + +Bibliography\ +Delattre, Camille, Julie Graff, Lena Krause, Alexia Pinto Ferretti, Simon Janssen, and David\ +Valentine. Forthcoming (2024). “Vers un commun numérique de l’art public” \[in fr]. Sens\ +Public.\ +\ +Krause, Lena. 2020. “MONA: from public art to our art with a mobile app” \[in en]. In DH2020\ +Book of Abstracts. Ottawa, ON. Accessed January 2, 2023. -\ +content/uploads/2020/07/707\_MONAfrompublicarttoourartwithamobileapp.html.\ +\ +Krause, Lena, and Simon Janssen. 2023. “MONA: des données ouvertes à la chasse au trésor cul-\ +turelle” \[in fr]. In Humanistica 2023. Poster. Genève, Switzerland: Association francophone\ +des humanités numériques, June. Accessed June 2, 2023. + diff --git a/evenements/2024-05-30-fr.md b/evenements/2024-05-30-fr.md new file mode 100644 index 0000000..d765289 --- /dev/null +++ b/evenements/2024-05-30-fr.md @@ -0,0 +1,214 @@ +--- +title: "L’Ouvroir at DHNB" +subtitle: '' +dateStart: 2024-05-28 +dateEnd: 2024-05-31 +timeStart: 09:00am +timeEnd: 14:00pm +place: Reykjavik, Iceland +link: https://dhnb.eu/conferences/dhnb2024/ +description: "Certains membres de l’Ouvroir présentent cette semaine au DHNB2024" +participants: [Alice Truc, Léa Maronet, Lena Krause, Zoë Renaudie] +draft: false +--- + +Certains de nos doctorants présentent cette année au DHNB (Humanités Numériques dans les Pays Nordiques et Baltiques). Le sujet de l'édition de cette année est ## **DE L'EXPÉRIMENTATION À L'EXPÉRIENCE : LEÇONS TIRÉES DES INTERSECTIONS ENTRE LES HUMANITÉS NUMÉRIQUES ET LE PATRIMOINE CULTUREL** + +## Interactive visualisation of GLAM+ data by Lena Krause +2024-05-28 +Half-day tutorial\ +Topics: The life cycle of digital humanities and arts projects, Art history, Galleries and museum studies, cultural heritage data, visualization\ +Keywords: data visualisation, interactive visualisation, javascript, GLAM, notebooks\ + +Interactive visualisation of GLAM+ data + +*Lena Krause*1,2 + +1Maison MONA; 2Université de Montréal + +The proposal for this tutorial is a participatory demonstration of data visualisation, focusing on content exploration and analysis using interactive inputs. The term *GLAM+ data* leans toward a more inclusive definition of cultural heritage or GLAM data. Smaller or unconventional non-profit cultural organisations, local councils and educational institutions are also engaged in preserving, documenting, and mediating art and culture, as well as in creating and disseminating datasets. + +Such GLAM+ data typically documents a series of objects, such as artworks or archival documents. As they are all described with the same properties, one can visualise them in timelines, categorical charts, etc. Participants with coding experience may bring their own dataset or sample in JSON or CSV (if you haven't collected your data yet, you can create a demo sample to use during the course, and update your dataset source once it is ready). Participants with little or no coding experience are welcome to the tutorial as a way to read through the code and understand the process behind it. Peer-coding or partnering up to share knowledge is recommended, and there will be time to form small groups at the beginning of the tutorial. + +The demonstration will begin with an introduction to Notebook environments on the Observable platform. Observable can be used as a web-hosted sandbox for playing with data and visualising it. It enables collaborative exploration, analysis, visualisation, and communication of data. Public individual and collective workspaces are free, favouring an open-source policy and generating a trove of examples to learn from or to fork. Coding itself is in Javascript, using the librairies Plot and D3.js. + +The workshop will focus on a single notebook (provided) allowing all to follow step by step, with the possibility of forking it to add comments or to make some twists, such as using your own data. After a brief overview of the goal of the visualisation, we will examine each step required to produce it, including: + +* getting data in JSON or CSV from an API, file link or simple upload +* exploring the content of the dataset +* cleaning or preparing it for the visualisation +* choosing the inputs and filters +* updating the output data based on the selection +* visualising it and thinking about scales, colours and interactions such as hover and clicks + +We will also look at other examples on Observable, thus seeing a wide array of code and visualisations whilst exploring one in depth and detail. + +**Learning outcomes** + +* discover the Observable platform and its notebooks +* understand the main steps of interactive data visualisation +* handle typical GLAM+ data challenges +* learn to use the Plot javascript library +* take in some d3.js code examples + +**Target audience**: all welcome. Computer scientists, digital humanists and cultural heritage workers alike, the tutorial is organised for a collective experience and sharing knowledge. + +**Anticipated number of participants**: max ~ 15 to 20 participants + +**Ideal length**: 3 hours + +**Technical requirements**: participants should bring their own laptop and have WIFI access. They can create an Observable account or use their Github identifiers to log into the platform. + +**Instructor**: Lena MK is an art historian and computer scientist, currently working as CTO of Maison MONA and as lab manager at Ouvroir Laboratory of Digital Art History and Museology, University of Montreal (UdeM). Specialising in data visualisation for cultural data, she is also a PhD candidate in art history and research-creation at UdeM and teaches data visualisation (HNU3056-6056) in the digital humanities program there. + +Bibliography\ +Links for the tutorial\ +Observable: \ +Plot.js: @observablehq/plot-gallery\ +D3.js:\ +\- @d3/gallery\ +\- \ +\ +Links about the instructor\ +\- personal website: \ +\- Maison MONA: \ +\- Ouvroir Laboratory of Digital Art History and Museology: \ +\- Data visualisation course, HNU3056-6056: @lenamk/plan-du-cours-hnu6056-hnu3056?collection=@lenamk/hnu6056 + +## Not Following the Book: A Journey from Museum Conservator to Digital Humanities Researcher through the Creation of a Contemporary Art Management Database by Zoë Renaudie +2024-05-30 +10:45am - 11:00am\ +ID: 145 / SESSION#04: 2\ +Short paper (abstract) | 10-minute presentation with a 5-minute Q\&A\ +Keywords: collection management, exhibition production, database, museum, conservation\ + +Not Following the Book: A Journey from Museum Conservator to Digital Humanities Researcher through the Creation of a Contemporary Art Management Database + +*Zoë Renaudie* + +Université de Montréal, Canada + +This paper recounts the transformative journey of a museum conservator thrust into the realm of Digital Humanities through the inception of a groundbreaking database for managing contemporary art collections and facilitating exhibition production. The narrative unfolds at Luma Arles in France, where, as an assistant conservator, I unexpectedly became the project owner for a crucial collection management database initiative. Initiated in conjunction with the opening of Luma Arles in the summer of 2021, the project aimed to address the unique challenges posed by the dynamic nature of contemporary art. + +The intricacies of the project involved grappling with existing private solutions that proved inadequate for the institution's needs and overcoming the shortcomings of an agile method adopted by the previous project owner. Upon the departure of the original project owner, the endeavor faced dissolution due to its perceived high cost and lengthy production timeline. Faced with the essential need for a database, I assumed responsibility for the project and proposed alternative solutions, leading to the successful realization of the database. + +This paper illuminates the unconventional path taken during the database creation, highlighting both successful and unsuccessful practices. It emphasizes the importance of deviating from conventional approaches, revealing instances where embracing chaos and fostering a collaborative making process proved more efficient than strictly adhering to established methodologies. + +Key aspects to be discussed include the evolution of the database creation process, challenges faced, and the ultimate solution devised. Furthermore, the narrative delves into the strategies employed to engage professionals from various sectors, emphasizing the transformation of the database from a mere archival tool to a dynamic and indispensable asset in the management of contemporary art collections. + +As a conservator intimately involved in the project, I will delve into the intricacies of collection management, exploring the diverse types of data related to both the physical and conceptual aspects of artworks. Special attention will be given to the utilization of digital solutions as tools for conservation, particularly in the context of multimedia, performance, and installation artworks, showcasing the complexity that the project aimed to comprehend and manage. + +This presentation extends beyond the project's technical aspects, sharing personal insights and experiences as an untrained project owner who, amidst challenges, discovered the realm of Digital Humanities. The culmination of this transformative journey has inspired the pursuit of a Ph.D. in Art History at the Université de Montréal (CA), supervised by Emmanuel Château-Dutier in the Research Digital Humanities Laboratory called l’\[Ouvroir]\(https://ouvroir.umontreal.ca/accueil). + +In this Ph.D, I approach the question of exhibition conservation using a conceptual framework that considers it as a network of interconnected elements. To grasp this, I plan to consult the sociological notion of a boundary object (Star and Griesemer 1989), whose materiality arises from action rather than physicality. This concept also emphasizes the links between social worlds, allowing for different considerations of the object. Concurrently, the actor-network theory (Akrich, Callon, and Latour 2006) will define a referential state based on a set of multiple properties located in various times and spaces, involving multiple actors. + +I also intend to invoke Jean-Pierre Cometti's investigation methodology in philosophy (2016), which opens the profession to a more biographical and holistic approach. This practice is also found in conservation-restoration theories of contemporary art and deemed complex works (Saaze 2009; Scholte and Wharton 2011; Stigter 2017). These will play a central role in the work I intend to develop. The creation of the documentary model will also involve a theoretical framework specific to digital humanities (Schweibenz and Scopigno 2018; Barok et al. 2019), for which I will analyze the CIDOC-CRM ontology of ICOM following the documentation logic created by and for conservation-restoration (Leveau 2012). With this interdisciplinary approach, I propose to envision a tool to capture the complexity of exhibitions in collaboration with the Partnership for New Uses of Collections in Art Museums with \[CIECO]\(https://cieco.co/fr). + +My research, in general, aims to explore ways to make digital tools accessible for museum professionals. I wish to expand perspectives on Galleries, Libraries, Archives, and Museums (\[GLAM]\(https://glamdatasci.network/)) and advocate for alternative solutions in addition to traditional relational databases. The paper underscores the use of hands-on experience, adaptability, and a willingness to embrace innovation in successfully navigating the intersections between contemporary art, conservation, and the evolving landscape of Digital Humanities, as I understand it. + +Bibliography\ +Akrich, Madeleine, Michel Callon, et Bruno Latour. 2006. Sociologie de la traduction : textes fondateurs. Collection sciences sociales. Paris: Mines Paris, les Presses.\ +\ +Barok, Dušan, Julie Boschat Thorez, Annet Dekker, David Gauthier, et Claudia Roeck. 2019. « Archiving Complex Digital Artworks ». Journal of the Institute of Conservation 42 (2): 94‑113.\ +\ +Cometti, Jean-Pierre. 2016. Conserver/Restaurer : l’oeuvre d’art à l’époque de sa préservation technique. NRF essais. Paris: Gallimard.\ +\ +Leveau, Pierre. 2012. « Les enjeux philosophiques de la documentation en conservation-restauration. » Conservation-restauration des biens culturels - Cahier technique, no 19: 3‑10.\ +\ +Saaze, Vivian van. 2009. « Doing Artworks. An ethnographic account of the acquisition and conservation of No Ghost Just a Shell ». Krisis, février.\ +\ +Scholte, Tatja, et Glenn Wharton, éd. 2011. Inside installations: theory and practice in the care of complex artworks. Cultural Heritage Agency of the Netherlands. Amsterdam: Amsterdam University Press.\ +\ +Schweibenz, Werner, et Roberto Scopigno. 2018. « Documenting Past Exhibitions: Why and How Information Technology Could Help to Preserve Dismantled Shows ». Uncommon Culture 7 (1/2, Cultural Heritage, Real\&Virtual): 75‑85.\ +\ +Star, Susan Leigh, et James R Griesemer. 1989. « Institutional Ecology, “Translations” and Boundary Objects: Amateurs and Professionals in Berkeley’s Museum of Vertebrate Zoology, 1907-39 ». Social Studies of Science Vol. 19 (No. 3): 387‑420.\ +\ +Stigter, Sanneke. 2017. « A Behaviour Index for Complex Artworks: A Conceptual Tool for Contemporary Art Conservation ». In CONTEMPORARY ART, 8. Paris: ICOM-CC. + + +## Transfer learning in digital art history: a flagrant need of standards for patrimonial images segmentation by Léa Maronet and Alice Truc +2024-05-30 +11:15am - 11:30am\ +ID: 121 / SESSION#04: 4\ +Short paper (abstract) | 10-minute presentation with a 5-minute Q\&A\ +Keywords: digital art history, digital humanities, history of art, segmentation, computer vision\ + + +Transfer learning in digital art history: a flagrant need of standards for patrimonial images segmentation + +*Léa Maronet*1, *Alice Truc*2 + +1École Pratique des Hautes Études, France - Université de Montréal, Canada - Centre National de la Recherche Scientifique, France; 2Université Rennes 2, France - Université de Montréal, Canada + +Since Johanna Drucker questioned the existence of a “digital art history” (Drucker, 2013), the last decade has seen a growing number of art historical projects make use of methods such as automatic pattern recognition, confirming the transfer of a technology born in the narrow field of computer vision to a growing number of researchers. However, digital art history remains a fragmented field: until now, these projects have not seriously interacted with each other, as they preferred to develop their own technical and methodological solutions. While the prevailing project-based logic offers fresh insights and original solutions to similar problems, it requires a significant financial and time investment, large quantities of data and technical skills that are not accessible to all research units, let alone all researchers (Romein and al., 2020, 310). Our communities would benefit from pooling together our efforts to help reduce these costs and reduce research obstacles. + +Such a project-based logic has for consequence to impose limits on the standardization of digital practices, both in terms of data recording and algorithm training. In particular, image segmentation - an operation which involves detecting and grouping pixels according to zones of interest by recording their coordinates, which is at the heart of computer vision and pattern recognition tasks - is not subject to any standards or harmonization. However, the adoption of standards is not totally missing from the field of digital art history: there are, for example, standards such as *DublinCore* (DCMI Usage Board, 2012), or projects such as *Metadata Culture*, for the registration of metadata (Näslund & al., 2020). The production of ontologies, such as *IconClass* (Posthumus & Brandhorst, 2005) or *SegmOnto* (Gabay et al., 2023) to describe image content, is also developing. However, there is no collective program to standardize the data produced during the process of cultural images segmentation. + +It's not so much a question of trying to standardize the description of image content - an attempt that falls within the realm of ontology, and whose terms vary from one project to another, from one work of art to another - than proposing a way of harmonizing the recording of elements's coordinates within these images. Such initiatives are being produced in the field of literary studies, with projects such as *HTRUnited* (Chagué, Clérice and Romary, 2021), but in digital art history, the question remains little addressed (Bardiot, 2021). Yet having a corpus of segmented images, whose elements have been identified by their coordinates, recorded in a hierarchical and standardized way in a document, would make it possible to create ground truths that would serve as basis for training new algorithms. + +Why is this question crucial in our discipline today? The development and training of computer vision algorithms in digital art history is generally based on the technique of transfer learning, which involves using pre-existing algorithms that have already been trained, to adapt them to the specificities of new corpus. While transfer learning can reduce the amount of data required to train algorithms, and at the same time improve the results obtained, its current methods remain ill-suited to art history: the algorithms available are for the most part trained on “natural” images, which means they are not relevant to the specificity and plurality of cultural images. The lack of harmonization of the solutions proposed project after project leads to a bitter conclusion, drawn in the course of our thesis researches: the available tools evolve rapidly and become obsolete in the short term, until they are discarded; many of them are poorly documented or inaccessible to a non-expert public; others are not usable and do not work on trial for a variety of reasons, ranging from operating system incompatibility to the lack of update of the libraries used. Therefore, it appears vital to us today to pool our segmented images so that they can serve as ground truths for future research, minimizing model training while enhancing the results obtained. + +However, it is important to keep in mind that segmentation is an intellectual operation, which always proposes an interpretation of the documents it takes as its object, and must be adapted to specific research questions. How can we design digital practices and tools capable of handling segmentation tasks for different data corpora and settings, while remaining relevant to the epistemological requirements of art history and accessible to its researchers? Asking this question implies putting into tension issues of interoperability and reproducibility of patrimonial data, on the one hand, and epistemological reasoning in relation to the tools developed, on the other hand. These questions should not be addressed after tools development but upstream and should accompany the entire workflow (Stutzmann, 2010, 247‑278). To address these tensions, we will identify the specific needs of the discipline of digital art history with regard to questions of image segmentation. We will then offer a quick overview of segmentation tools that can be adapted to be functional for every art historical project. Finally, we will highlight the shortcomings and solutions that need to be developed as a priority. + +Pooling cultural ground truths is nowadays crucial if research is to move towards better integration of computer vision and automatic pattern recognition in digital art history projects. In addition to the availability of quality, properly documented and cataloged data, this pooling of resources can encourage all researchers to gradually adopt homogeneous practices allowing a better reproducibility and repurposing of data. The aim is twofold: to produce ready-to-use models and workflows adapted to cultural data, and to share data that enables these models to be produced. For the ground truths of each project to be reusable, segmentation data must be brought about according to norms and standards designed specifically for images of works of art, with a view to conceptualizing them collectively. + +Bibliography\ +Bardiot, C. (2021). Performing Arts and Digital Humanities. From Traces to Data. Wiley-ISTE. \ +Chagué, A., Clérice, T. & Romary L. (2021). “HTR-United : Mutualisons la vérité de terrain !” DHNord2021 - Publier, partager, réutiliser les données de la recherche : les data papers et leurs enjeux. Lille. hal-03398740.\ +DCMI Usage Board. (2012). “Dublin Core™ Metadata Element Set, Version 1.1: Reference Description”, Dublincore. Accessed January 18th 2023. \ +Drucker, J. (2013). “Is There a ‘Digital’ Art History?”, Visual Resources, 29 (1/2), 5‑13.\ +Gabay, S., Pinche, A., Christensen, K., Camps, J.-B. & Carboni, N. (2023). SegmOnto, A Controlled Vocabulary to Describe the Layout of Pages, version 0.9, .\ +Näslund, A., Hansson, K., Reichert, R. & Wasielewski, A. éd. (2020). “The Politics of Metadata”. Digital Culture & Society (DCS) 6, no 2.\ +Posthumus, E., & Brandhorst, H. (2005). IconClass Illustrated Edition. IconClass. \ +Romein, A. C. & al. (2020). “State of the Field : Digital History”. History, 105(365), 291‑312.\ +Stutzmann, D. (2010). Paléographie statistique pour décrire, identifier, dater... Normaliser pour coopérer et aller plus loin ? In F. Fischer, C. Fritze, & G. Vogeler (Éds.), Kodikologie und Paläographie im digitalen Zeitalter 2 = Codicology and Palaeography in the Digital Age 2 (247‑278). Herstellung und Verlag: Books on Demand. . + +# Display, Ontology and Database for Exhibition Documentation by Zoë Renaudie +2024-05-30 + +Poster and demo (abstract) with accompanying a 1-minute lightning talk\ + +Display, Ontology and Database for Exhibition Documentation + +Emmanuel Château-Dutier, Lena Krause, David Valentine, *Zoë Renaudie* +Université de Montréal + +The CIECO project is focused on mobilising and utilising extensive archival sources to document the history of art museum exhibitions and collection displays, enabling their reconstruction. L’Ouvroir is developing a tool needed to support all research operations, from collecting historical information to formulating hypotheses and recording results. + +In a frequently sparse documentary context, we propose an abstract model allowing us to record historical information about exhibition installations through a spatial approach, defining the possibilities of topological inferences between objects in the exhibition space. The first step was to design a computer ontology before conceiving a user-friendly database that will be used by art historians without specific technical skills and facilitates the creation or automated import of lists of artworks, the recording or definition of the geometry of an exhibition space, the localization of artworks in this space. + + +## Going with the Flow: Merging Research and Cultural Outreach in GLAM+ Data by Julie Graff and Lena Krause +2024-05-31 +10:45am - 11:15am\ +ID: 127 / SESSION#18: 1\ +Long paper (abstract) | 20-minute presentation with a 10-minute Q\&A\ +Topics: Cross-institutional and interdisciplinary collaborations, Art history, Galleries and museum studies, structured data (e.g. excel sheets, databases, metadata), cultural heritage data, data publishing projects, systems, and methods, mobile applications development and analysis, public humanities collaborations and methods\ +Keywords: Public art, Cultural outreach, Open data, Mobile app, GLAM\ + +Going with the Flow: Merging Research and Cultural Outreach in GLAM+ Data + +*Julie Graff*1,3, *Lena Krause*1,2, Alexia Pinto Ferretti1,2, Camille Delattre1,2, Simon Janssen1,2, Kim Trihn1,2, David Valentine1,2 + +1Maison MONA; 2Université de Montréal; 3Université du Québec à Montréal + +Maison MONA, a non-profit organization founded in 2020, is dedicated to highlighting art and culture in public spaces in Québec (Canada). Our main initiative is the development of a free mobile app (iOS and Android), MONA: it aims to spark curiosity for, and appreciation of, public art, heritage sites, and cultural spaces in Québec, by transforming their discovery into a life-size treasure hunt. To do so, we align a dozen open datasets about public art and heritage sites to generate a rich, diverse and complex panorama as a sort of "meta" cultural collection. From data collecting to cultural outreach, we follow the workflow, finding solutions and passing them on to the cultural community and to the general public, whilst promoting the exchange of knowledge and equal, nonhierarchical participation in the development of research. Our challenges lie in the often incomplete or ambiguous datasets, which are also scattered and unevenly structured. Their contents, the cultural objects themselves, are also difficult to research or, even, to actually find IRL. To establish their provenance and biographies requires accessing information located within oral history sources, physical archives and otherwise difficult to access materials. As a result, these public cultural objects (such as murals, historical buildings, or even free cultural spaces) and their corresponding data tend to remain elusive to the general public, to cultural workers, and to researchers. Bringing together professionals and young researchers from a variety of disciplines (art history, museum studies, digital humanities, computer science…) in our team, we tailor our methodology through a process of trial and error, following an action research approach. We combine a series of concrete activities (open data creation/crowd sourcing, field research, and cultural mediation), a process of knowledge sharing, and an ongoing critical reflection touching on technical, methodological, and ethical issues.\ +From the beginning, cultural mediation was a key component of our process to bridge a gap between researchers and the public. The MONA app offers a new dimension to outreach with its participatory approach. Users produce photographs, comments, and ratings, thus documenting artworks and heritage sites whilst also revealing how each individual perceive them. Such user data advances a new approach to studying art appreciation. Partnering with Art+site research group (P.I. Suzanne Paquet, Université de Montréal), we are developing a feedback loop between the general public and sociology of art researchers to better understand how public cultural objects are impacting the lived experiences of urban spaces. We will reflect on the opportunities offered, challenges faced and lessons learned from merging research and cultural outreach while working with heritage and public art open data. It will also introduce our understanding of GLAM (Galleries, Libraries, Archives, Museums), which actually includes a variety of cultural workers operating outside, yet often in relation to, these four specific institutions: we are speaking of local councils, schools (including universities), smaller or unconventional non-profit cultural organizations, and so on. We are all engaged in preserving, documenting, mediating public art and heritage sites, as well as in creating and disseminating datasets. This paper will therefore present how this loose network operates to create GLAM+ Data.\ +In order to do so, we will also focus one a case study, a public art dataset from the Magdalene Islands (Îles-de-la-Madeleine, Qc.). In 2023, we were commissioned by AdMare (Centre d'artistes en art actuel des Îles-de-la-Madeleine; Magdalene Islands' artist-run centre for contemporary art) to co-create a public art tour and its digital mediation. As Quebec has an art and architecture integration policy, we began our field work began by researching these artworks. The only available documentation was a government-issued PDF file (https://www.quebec.ca/culture/integration-oeuvres-art-public/listes-oeuvres-art-public). Beyond the format issue, this file contained rather elusive information, limited to the year of production of the artwork, the name of the artist, the institution for which it was created, and its address (at the time of creation). We had to fill a lot of gaps, starting with the title of the artworks, and updating their locations. While the AdMare team was able to provide us with crucial information, thanks to their own extensive knowledge of their territory, it remained on occasion nebulous to an outsider's viewpoint. We alternated between leg work, crossing the islands searching for public artworks, and talking with local workers from libraries, hospitals, local heritage institutions, and municipal services, all the while documenting what we learned. From this experience, we compiled a rich qualitative documentation, including photographs and testimonies.\ +With the idea of furthering digital literacy, we wanted to entrust data production to the AdMare team. Adopting tabular data, we kept the structure as simple as possible to favour durability of both the dataset and the knowledge on how to update it. This simplicity might be considered to constrict the quality of the data produced. However, we had to find a balance between respecting standards and good practices, and making the data production possible and accessible for cultural workers. We also introduced the principles of open data, which are very close to the philosophy of several artist-run centres including AdMare, and recommended publishing the dataset as a CSV export on the government open data platform, Données Québec (https://www.donneesquebec.ca/recherche/dataset/art\_public\_iles-de-la-madeleine). Tabular data also gave us a first opportunity to map these artworks and locations, a welcome visualization after our rather wild-goose chase through the isles. On our side, we added the API provided by Données Québec to our scripts, which import and update all our open data sources. This script requires some fine-tuning, checking that new data aligns with our current data model, but it allows us to automate most updates (Krause and Janssen 2023). Once the data enters the MONA server and our database, we share it to all mobile apps using our own API, creating 31 new cultural troves to be discovered throughout the islands.\ +The last part of our project with Admare was focused on giving back to the community through cultural outreach. We collaborated with local artist Gabrielle Desrosiers to design a paper map complementing the digital version available on the MONA app. The artist’s rendering focused on the Cap-aux-Meules Harbour. That last sector was also the site for several public activities organized during fall 2023, which allowed direct contact with the public. We met and discussed art and culture in public space, bringing attention to an artwork and sharing local, historical and contemporary knowledge. Participants were encouraged to use the mobile app, in which photography and the prompts to comment and rate the discoveries further a creative and participatory approach. Through these practices, we are dedicated to nurture the opportunity for each participant to develop their own perspective on the artwork, as we hold the belief that each person can and should develop their own taste and appreciation of art (Krause 2020). With the idea of durability in mind, we sought to produce sustainable outreach contents: the mobile app is freely available at all times, and the artist’s map is being distributed by Admare. We also produced teaching content for secondary school teachers.\ +By sharing this case, we hope to offer insight on the feedback loop between digital good practices and the pragmatic needs of a cultural outreach project, turning a critical and reflexive eye on these practices for a collective learning experience. Our conclusion will, moreover, focus on our current uses for this dataset in the research context, through the analysis of user-generated content, on the one hand, and through the production of Linked Open Data on the other hand (Delattre et al. 2024 (forthcoming)). + +Bibliography\ +Delattre, Camille, Julie Graff, Lena Krause, Alexia Pinto Ferretti, Simon Janssen, and David\ +Valentine. Forthcoming (2024). “Vers un commun numérique de l’art public” \[in fr]. Sens\ +Public.\ +\ +Krause, Lena. 2020. “MONA: from public art to our art with a mobile app” \[in en]. In DH2020\ +Book of Abstracts. Ottawa, ON. Accessed January 2, 2023. -\ +content/uploads/2020/07/707\_MONAfrompublicarttoourartwithamobileapp.html.\ +\ +Krause, Lena, and Simon Janssen. 2023. “MONA: des données ouvertes à la chasse au trésor cul-\ +turelle” \[in fr]. In Humanistica 2023. Poster. Genève, Switzerland: Association francophone\ +des humanités numériques, June. Accessed June 2, 2023. +