ARTstor has just announced the release of the Offline Image Viewer 4.0. This new release includes the following new features and a bug fix:
Compatible with Mac OS X 10.9 and Windows 8.
Link to image viewer – clicking the link to image viewer icon on an image will open that image in the image viewer within the Digital Library.
Embedded hyperlinks – you can now embed hyperlinks in your OIV slides.
Saving to legacy format – this version of OIV allows presentations to be saved in OIV 2.6 format so that they can be opened by OIV version 2.6 and above (without image viewer linking functionality). This version can also open OIV 2.6 and 3.X files. Bug Fix:
Dual-screen presentations – when using two screens in presentation mode, images will advance in pairs, e.g. screen 1 will show odd-numbered images, screen 2 will show even-numbered images.
To access this new version, uninstall any previous versions of OIV, log into your account, and install OIV 4.0 by following these directions: http://help.artstor.org/wiki/index.php/OIV_Installing.
Please contact Amy Herman if you have any questions.
As visualizations grow in popularity, digital timelines provide a relatively simple way to present data and images in a new way. While there are many timeline creation tools out there, TimelineJS and Timemapper stand out as easy to use tools for creating visually rich, interactive timelines. With both tools, timelines are created using nothing more than a Google spreadsheet.
TimelineJS allows you to quickly create timelines directly from a form on their website, no account registration is needed. Simply upload your Google spreadsheet to generate an embed code and copy and paste the code into your own website.
TimeMapper extends the functionality of TimelineJS by adding the ability to include geographic data displayed on a map. Unlike TimelineJS, TimeMapper allows you to create an account which provides you with a stable URL for your timemaps and the ability to re-configure or delete them later.
Both TimelineJS and Timemapper can pull in media from a variety of sources and have built-in support for Twitter, Flickr, YouTube, Vimeo, Vine, Dailymotion, Wikipedia, SoundCloud and more. Photos must be publicly available online and the URL must end in .jpg, .png, or .gif. Uploading your image to Dropbox is an easy way to give it a URL.
Wild Roses and Irises, 1887 John La Farge Gouache and watercolor on white wove paper
More than 400,000 high-resolution digital images of public domain works from the Metropolitan Museum of Art may now be downloaded directly from the Museum’s website for non-commercial use – including in scholarly publications in any media – without permission from the Museum and without a fee. The number of available images will increase as new digital files are added on a regular basis.
This new initiative, called Open Access for Scholarly Content (OASC) is similar to the Images for Academic Publication (IAP) program hosted by the Artstor Digital Library, where the Metropolitan Museum also contributes images of artworks. The OASC initiative will provide access to a wider range of images in the Museum’s collection directly from the Museum’s website.
Works that are covered by the new policy are identified with the acronym OASC on the Museum’s website (http://www.metmuseum.org/collections). Once you find an image you are interested in using, click on the download icon next to it to save the image to your desktop or device.
Newsreel archive British Pathé has uploaded its entire collection of 85,000 historic films, in high resolution, to YouTube. This unprecedented release of vintage news reports and cinemagazines is part of a drive to make the archive more accessible to viewers all over the world…read more
Who says slides are dead? Not the students in Marc Ganzglass’ Sculpture I class, who have been visiting the Visual Resources Center this semester to explore the slide collection. Each week, two students pull 80 slides (a full carousel tray) and project the images side by side for a Friday morning “slide slam” which serves as visual inspiration for the class.
Although most VRC patrons primarily use our digital collections, it’s been great to see the analog collection getting so much use. The Bard slide collection represents over 30 years of collecting and remains an incredible resource for images.
Working in a physical collection has been an eye opener for many students who are used to searching for images online, where a finely tuned keyword search can bring up hundreds of related images. In the slide collection, students must determine how an image might have been filed within the confines of a predetermined organization system.
Image catalogers have long been familiar with the unique challenges slides present. Because an image can be approached from many subject paths, deciding where a slide would ultimately reside in a collection was often a very subjective business. Should this in-situ fresco be placed in the architecture section with other images of the building, or filed with paintings by the same artist? What if the fresco was removed and now resides in a museum? Where do views of the Chicago World’s Fair go? Do we keep them together or should each building be filed under the name of the architect who designed it? What if the view shows more than one building?
The digital revolution has of course dramatically changed the tools we use to find and present images. Certainly one of the greatest improvements is increased access. In the past, students would need to come to the Slide Library to review the images presented in class; now they can view images anytime and from anywhere by accessing our online collections. There is no longer only one copy of image, and at least most of the time, digital images don’t get lost, broken or turn pink.
We do miss the foot traffic though. It’s been great to hear the exclamations from students when a really amazing image is found. I’m sure the same joy is felt when something is found in our digital collections, but we’re not there to hear it.
Yale University Press has released the “Interaction of Color” app for the iPad to celebrate the 50th anniversary of this iconic book. The new app explores Albers’s teachings through interactive plates that allow users to perform their own experiments with color. The plates are designed to reproduce the experience of working with cut and colored paper and the shapes can be manipulated to see how colors look different on different grounds. The app includes the full text of The Interaction of Color and over 125 of the original color studies. It also includes archival videos of Josef Albers teaching at Yale.
A free version of The Interaction of Color appis available from the itunes store, it allows you to sample Chapter 10 and includes two interactive plates and the palette tool. The full version is available as an in-app purchase for $9.99. The Interaction of Color website includes further information, a sampler of video commentary, and a demonstration video.
ARTstor has recently announced an update that will eliminate the need for Java in the ARTstor Digital Library. This update will mainly affect the way single image downloads are handled.
After the update is in place, users who download single image files will receive a zip file that contains a JPEG image and an HTML file with the associated metadata. In addition to removing the need for Java, using zip will allow ARTstor to pursue other feature enhancements, such as additional options for image group downloads.
For some users, mainly those on PCs, it will be necessary to install software such as 7Zip to unzip their downloads.
The SCI-Arc Media Archive is a new online resource that presents over 600 lecture and symposium videos held at the Southern California Institute of Architecture from 1974 to the present. The lectures cover a wide variety of topics relating to architecture and design and feature some of the most significant architects and theorists of the last 50 years. Each video is extensively described and topics and themes are tagged. Visitors can search by speaker name, theme or year.
The Rembrandt Database is a new research resource developed by the Netherlands Institute for Art History. The database contains detailed research material on Rembrandt’s paintings, including provenance and exhibition information, technical documentation and high resolution images. The database is particularly strong in visual material relating to the technical analysis and conservation of the paintings, including infrared and radiographic examinations and sample analysis. To give you an idea of the depth of material contained within this database, there are over 1,700 records relating to only 12 paintings! The Rembrandt Database is still in the beta stage and continues to be developed and expanded. Prints and drawings will be added in the near future.