metadata how we relate to images research group ...sro.sussex.ac.uk/id/eprint/79936/1/final...
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METADATA HOW WE RELATE TO IMAGESLethaby Gallery 10 Jan—3 Feb 2018
An exhibition organised by the International Research Group “Bilderfahrzeuge. Aby Warburg’s Legacy and the Future of Iconology” in collaboration with Central Saint Martins, University of the Arts London.
Nora Al-Badri and Nikolai Nelles Alexander BurgessHussein ChalayanMatthew Clarke Joyce ClissoldCarole ColletSarah CraskeMatthew Darbyshire John Henry Dearle Violet E. HawkesRosemary HouseLauren JettyEdward JohnstonOwen JonesLottin de LavalRichard LongNicola Lorini Alfred MaudslayLouisa Minkin William MorrisNoel RookeHenrietta Simson Jeremy Wood
FOREWORDINTRODUCTIONESSAYS NOTHING ORIGINAL PAPER DECODING NOISELIST OF IMAGES WORKS EXHIBITEDEVENTSCREDITS
FOR
EW
OR
D
The
exhi
bitio
n “M
etad
ata:
how
we
rela
te to
imag
es” i
s ju
st o
ne o
f m
any
prod
ucts
from
a c
olla
bora
tion
betw
een
the
Inte
rnat
iona
l
Rese
arch
Gro
up “B
ilder
fahr
zeug
e. A
by W
arbu
rg’s
Leg
acy
and
th
e Fu
ture
of I
cono
logy
”, fu
nded
by
the
Ger
man
Fed
eral
Min
istr
y
of E
duca
tion
and
Rese
arch
and
loca
ted
at th
e W
arbu
rg In
stitu
te,
and
the
Art P
rogr
amm
e at
Cen
tral
Sai
nt M
artin
s in
Lon
don.
In
spir
ed b
y sp
ecifi
c as
pect
s of
the
work
of t
he c
ultu
ral t
heor
ist
Aby
War
burg
(186
6—19
29) t
he r
esea
rch
grou
p in
vest
igat
es, i
n a
nu
mbe
r of
indi
vidu
al c
ase
stud
ies,
the
sign
ifica
nce
of th
e m
obili
ty
of c
erta
in im
ages
with
in c
ultu
ral h
isto
ry. T
his
exhi
bitio
n, h
owev
er,
form
s a
colle
ctiv
e pr
oduc
t of t
he g
roup
’s w
ork
for
whic
h th
e re
sear
cher
s ba
sed
in L
ondo
n an
d at
oth
er E
urop
ean
inst
itutio
ns
team
ed u
p wi
th a
rtis
ts fr
om C
entr
al S
aint
Mar
tins.
The
exhi
bitio
n
enga
ges
with
the
task
of c
ombi
ning
aca
dem
ic r
esea
rch
and
ar
tistic
pra
ctic
e. T
he r
esul
t is
a pr
onou
nced
focu
s on
the
actu
al
obje
cts,
doi
ng p
artic
ular
just
ice
to W
arbu
rg’s
con
cept
that
gav
e
the
rese
arch
gro
up it
s na
me:
“Bild
erfa
hrze
uge”
, und
erst
andi
ng
imag
es (B
ilder
) as
auto
mob
ile “v
ehic
les”
(Fah
rzeu
ge),
not o
nly
lo
aded
with
idea
s to
be
tran
spor
ted
by th
em b
ut a
lso
driv
ing
them
wi
th th
eir
own
dyna
mic
.
Th
e co
llabo
ratio
n be
twee
n th
e “B
ilder
fahr
zeug
e” an
d Ce
ntra
l S
aint
Mar
tins
date
s ba
ck to
201
4 wh
en th
e re
sear
ch g
roup
’s
coor
dina
tor,
Joha
nnes
von
Mül
ler,
met
with
Mic
k Fi
nch
and
M
artin
Wes
twoo
d fr
om C
entr
al S
aint
Mar
tins.
The
pret
ext f
or th
is
mee
ting
was
Wes
twoo
d’s
“Hea
dsto
ne to
Har
d D
rive
” pro
ject
that
ha
d m
any
pote
ntia
l ove
rlap
s wi
th th
e fo
unda
tiona
l int
eres
ts o
f th
e “B
ilder
fahr
zeug
e”. T
he fi
rst p
roje
ct r
ealis
ed to
geth
er w
as a
sm
all e
xhib
ition
, “Ex
peri
enci
ng Im
ages
at t
he W
arbu
rg In
stitu
te”,
th
at to
ok p
lace
in th
e In
stitu
te’s
rea
ding
roo
m in
late
201
4.
A se
ries
of s
emin
ars
follo
wed
wher
e fa
culty
from
Cen
tral
Sai
nt
Mar
tins
and
mem
bers
of t
he B
ilder
fahr
zeug
e pr
esen
ted
thei
r re
sear
ch to
eac
h ot
her.
Furt
her
colla
bora
tions
wer
e st
imul
ated
,
for
exam
ple
in th
e co
ntex
t of t
he “A
nnih
ilatio
n Ev
ent”
org
anis
ed
by L
ouisa
Min
kin
and
Eliz
abet
h W
righ
t. Th
e ex
chan
ge fa
cilit
ated
in
that
con
text
add
ed a
furt
her
dim
ensi
on to
the
proj
ect
and
illus
trat
es w
ell h
ow th
e in
terd
iscip
linar
y dy
nam
ic h
as w
orke
d
betw
een
the
two
inst
itutio
ns. I
n Ju
ne 2
016
a co
lloqu
ium
, “The
War
burg
-Hau
s: a
ppar
atus
, ins
crip
tion,
dat
a, s
pecu
latio
n”,
was
orga
nise
d at
the
War
burg
-Hau
s in
Ham
burg
, the
form
er
hom
e of
the
inst
itutio
n th
at w
ould
bec
ome
the
War
burg
Inst
itute
. Th
e co
lloqu
ium
was
led
by M
ick
Finc
h, U
we F
leck
ner,
Joh
anne
s
von
Mül
ler
and
Mar
tin W
estw
ood
and
brou
ght t
oget
her
an
inte
rnat
iona
l gro
up o
f aca
dem
ics
and
artis
ts, a
mon
g th
em a
lso
B
erna
rd S
tiegl
er a
nd m
embe
rs o
f l’in
stitu
t de
rech
erch
e et
d’
inno
vatio
n, P
aris
.
Th
us, in
so
man
y wa
ys C
entr
al S
aint
Mar
tins’
Leth
aby
Gal
lery
se
emed
like
the
logi
cal h
ost f
or “M
etad
ata”
. The
pat
h to
ward
the
exhi
bitio
n ha
s br
ough
t us
into
eve
n cl
oser
and
frui
tful p
roxi
mity
.
The
Bild
erfa
hrze
uge
grou
p ha
s wo
rked
clo
sely
with
Sar
ah
Cam
pbel
l and
Jud
y W
illco
cks
from
the
Cent
ral S
aint
Mar
tins
Mus
eum
and
Stu
dy C
olle
ctio
n an
d m
any
obje
cts
from
the
m
useu
m a
re fe
atur
ed in
“Met
adat
a”. A
lso
alon
g th
is p
ath
was t
he
afor
emen
tione
d “A
nnih
ilatio
n Ev
ent”.
Its
prem
ise
of b
eing
bet
ween
an
exh
ibiti
on a
nd a
n ev
ent h
as b
een
a us
eful
touc
hsto
ne in
how
to
neg
otia
te th
e qu
estio
n of
met
adat
a in
the
exhi
bitio
n th
at is
no
w on
dis
play
and
that
will
als
o fe
atur
e a
seri
es o
f eve
nts b
ring
ing
toge
ther
aca
dem
ics,
art
ists
, stu
dent
s an
d th
e wi
der
publ
ic.
“Met
adat
a” is
the
culm
inat
ion
of a
n ex
citin
g pe
riod
of d
ialo
gue,
ex
chan
ge a
nd c
oncr
ete
proj
ects
that
we
hope
will
con
tinue
be
yond
the
tem
pora
l bor
ders
of t
he li
fesp
an o
f the
Bild
erfa
hr-
zeug
e pr
ojec
t. Th
e co
oper
atio
n ha
s pr
oved
rew
ardi
ng
for
both
Cen
tral
Sai
nt M
artin
s an
d th
e B
ilder
fahr
zeug
e an
d th
e
enco
unte
r, in
a w
ay, b
ring
s to
min
d no
tions
of s
eren
dipi
ty a
nd
War
burg
’s “p
rinc
iple
of t
he g
ood
neig
hbou
r”. “
Met
adat
a: h
ow w
e
rela
te to
imag
es”,
a m
anife
stat
ion
of o
ur c
olle
ctiv
e en
deav
our,
is,
we h
ope,
the
begi
nnin
g of
yet
ano
ther
sta
ge in
this
rel
atio
nshi
p.
AN
DR
EA
S B
EYE
RS
peak
er, “
Bild
erfa
hrze
uge.
Aby
War
burg
’s L
egac
y an
d th
e Fu
ture
of I
cono
logy
“
MIC
K F
INC
H
Rea
der
in V
isua
l Art
Pra
ctic
e an
d B
A Fi
ne A
rt C
ours
e Le
ader
, Ce
ntra
l Sai
nt M
artin
s
INTR
OD
UC
TIO
N
One
mig
ht ju
stly
cla
im th
at m
etad
ata
is u
biqu
itous
, str
uctu
ring
our
in
tera
ctio
ns w
ith th
e wo
rld
in m
anifo
ld w
ays.
As d
ata
abou
t ot
her
data
, met
adat
a de
scri
bes
and
clas
sifie
s in
form
atio
n; a
mon
g
its b
est-
know
n ap
plic
atio
ns a
re, f
or e
xam
ple,
libr
ary
cata
logu
es,
map
s, o
r, p
ossi
bly
mos
t fam
iliar
ly to
day,
the
info
rmat
ion
set
— lo
catio
n, ti
me,
dev
ice
— th
at c
omes
with
the
sim
ple
act o
f tak
ing
a
pict
ure
on a
sm
artp
hone
.
Th
is e
ssay
too
is m
etad
ata.
It p
rovi
des
an in
trod
uctio
n to
the
ex
hibi
tion
this
boo
klet
acc
ompa
nies
. It w
ill th
us in
fluen
ce a
nd
info
rm th
e wa
y vi
sito
rs e
ncou
nter
the
exhi
bite
d ob
ject
s by
pro
vidi
ng
back
grou
nd in
form
atio
n on
art
work
s an
d su
gges
ting
pote
ntia
l lin
ks th
at c
an b
e es
tabl
ishe
d be
twee
n th
em.
The
term
itse
lf is
fair
ly y
oung
. It d
ates
from
the
late
1960
s an
d
was
coin
ed w
ithin
the
disc
iplin
es o
f inf
orm
atio
n an
d co
mpu
ter
sc
ienc
es. A
s a p
heno
men
on, h
owev
er, m
etad
ata
exis
ted
long
bef
ore
th
e di
gita
l age
, sta
rtin
g pr
obab
ly a
s ea
rly
as th
e cu
neifo
rm
inve
ntor
ies
of th
e ro
yal H
ittite
cha
ncer
ies
from
the
seco
nd
mill
enni
um B
CE
, or
the
(lost
) tab
lets
cat
alog
uing
the
hold
ings
of
the
libra
ry o
f Ale
xand
ria
in a
ncie
nt E
gypt
, am
ongs
t man
y
othe
r ex
ampl
es. W
here
ther
e is
info
rmat
ion,
ther
e is
met
adat
a.
Th
e co
nseq
uenc
es o
f met
adat
a fo
r ou
r pe
rcep
tion
and
us
e of
art
obj
ects
bec
ome
clea
rer
when
look
ing
at a
n ex
ampl
e
such
as
the
case
of a
pla
ster
cast
list
ed in
the
colle
ctio
n ca
talo
gue
of
the
Cent
ral S
aint
Mar
tins
Mus
eum
and
Stu
dy C
olle
ctio
n
as a
“Gri
ffin
type
cre
atur
e. C
rouc
hing
lion
. Cas
t of A
ssyr
ian
Lion
sim
ilar
to th
ose
in th
e B
ritis
h M
useu
m“. T
his
is e
vide
ntly
a c
ase
of
mis
labe
lling
, as t
his
is a
cas
t of a
fam
ous
Arch
aic
Gre
ek s
culp
ture
, th
e N
erei
d M
onum
ent w
hich
is in
deed
on
disp
lay
in th
e ga
lleri
es
of th
e B
ritis
h M
useu
m.
This
mis
labe
lling
as
“Gri
ffin”
mig
ht n
ot m
erel
y be
an
erro
r,
but a
lso
spea
k of
the
inte
nded
func
tions
of t
he c
ast i
tsel
f (N
o.30
). As
par
t of t
he te
achi
ng c
olle
ctio
n of
an
art s
choo
l, th
e
piec
e wa
s pr
obab
ly n
ot fi
rst a
nd fo
rem
ost i
nten
ded
for
teac
hing
st
uden
ts a
bout
anc
ient
icon
ogra
phy,
but
abo
ut c
erta
in
form
al tr
aits
of a
n an
cien
t mas
terp
iece
. Whi
le th
e ca
st r
ecor
ds
the
scul
ptur
e’s
form
and
dim
ensio
ns, i
t om
its o
ther
info
rmat
ion
su
ch a
s its
act
ual m
ater
ial,
weig
ht o
r ha
ptic
qua
litie
s. T
he c
ast’s
st
atus
is th
at o
f an
exam
ple,
not
an
artw
ork,
whi
ch m
ight
als
o
acco
unt f
or th
e ba
dly
dam
aged
sta
te it
is in
, and
the
graf
fiti l
eft
on it
s su
rfac
e by
gen
erat
ions
of s
tude
nts.
Com
men
ting
on th
is
obje
ct’s
his
tory
bey
ond
its s
tatu
s as
a m
ere
copy
, thi
s m
etad
ata
m
akes
the
cast
a m
ulti-
laye
red
thir
d ob
ject
, an
imag
inar
y on
e,
exis
ting
som
ewhe
re b
etwe
en th
e B
ritis
h M
useu
m, C
entr
al S
aint
M
artin
s an
d th
e be
hold
er.
Thes
e fr
ictio
ns in
the
proc
ess
of tr
ansm
issi
on a
nd tr
aditi
on
also
attr
act n
umer
ous
cont
empo
rary
art
ists
to th
e th
eme
of d
ata
an
d m
etad
ata.
In d
oing
so,
they
con
scio
usly
alig
n th
eir
own
work
wi
th a
n in
terv
entio
n in
to th
e da
ta s
pher
e.
Que
stio
ns o
f dat
a an
d m
etad
ata,
“ori
gina
l” an
d “c
omm
enta
ry”
allo
w ar
tists
to e
ngag
e wi
th th
e cl
assi
cal i
ssue
of i
mita
tion
and
th
e ro
le o
f mod
els
for
an a
esth
etic
pro
cess
. The
y al
so s
hed
new
light
on
the
line
betw
een
com
men
ting
and
mak
ing.
This
dia
lect
ic is
neg
otia
ted
prom
inen
tly in
wor
ks li
ke H
enri
etta
S
imso
n’s
(Don
’t) F
all o
n M
e, A
rena
Cha
pel (
No.
2). O
ne o
f th
e m
ost f
amou
s ar
twor
ks o
f wes
tern
trad
ition
, Gio
tto’s
fres
coes
in
the
Aren
a Ch
apel
in P
adua
(aro
und
1305
), is
pri
nted
on
a si
lk
para
chut
e, in
flate
d pe
riod
ical
ly b
y a
fan,
thus
form
ing
a do
me
th
at r
ecal
ls th
e or
igin
al a
rchi
tect
ural
spa
ce.
Clea
rly,
the
fres
coes
(or
rath
er: t
he p
hoto
s of
the
fres
coes
ta
ken
by th
e ar
tist)
are
the
sour
ce m
ater
ial,
the
“dat
a” fo
rmin
g
the
base
for
Sim
son’
s wo
rk. W
hile
bei
ng c
ompa
rativ
ely
accu
rate
in
the
repr
oduc
tion
of th
e ch
apel
, Gio
tto’s
mas
terp
iece
app
ears
m
arke
dly
skew
ed —
the
infla
tion
cons
tant
ly d
isto
rts
the
imag
es,
with
the
fan
also
add
ing
a ve
ry m
anife
st “n
oise
” to
the
proc
ess.
Keep
ing
Gio
tto’s
maj
estic
fres
coes
in c
onst
ant m
ovem
ent,
the
work
lib
erat
es it
self
from
the
weig
ht o
f tra
ditio
n al
lude
d to
in th
e tit
le,
and
open
s a
spac
e fo
r ap
prec
iatin
g Si
mso
n’s
work
as
a se
nsuo
us
expe
rien
ce in
its
own
righ
t.
W
hile
tran
smitt
ing
som
e in
form
atio
n ab
out G
iotto
’s wo
rk —
e.g
. th
e co
lour
s an
d ic
onog
raph
ies —
the
artis
t is
cons
ciou
sly
omitt
ing
ot
hers
suc
h as
the
stat
ic, p
ersp
ectiv
al c
ompo
sitio
n. In
this
res
pect
, th
e ne
w wo
rk a
lso
beco
mes
a c
omm
enta
ry o
n th
e Ar
ena
Chap
el
itsel
f — a
pie
ce o
f art
istic
res
earc
h, s
ervi
ng a
s m
etad
ata,
feed
ing
back
into
our
per
cept
ion
of th
e pi
ctor
ial a
nd a
rchi
tect
ural
sp
aces
of t
he R
enai
ssan
ce. In
som
e re
spec
ts, S
imso
n’s
work
mig
ht
allo
w us
to r
efle
ct o
n G
iotto
’s a
rt o
nce
agai
n in
the
cont
ext
of h
isto
rica
l ide
as, s
uch
as th
e Ch
rist
ian
“pne
uma”
, the
uni
on o
f br
eath
and
spi
rit,
whic
h a
med
ieva
l beh
olde
r m
ight
hav
e pe
rcei
ved
bu
t whi
ch a
rt h
isto
rica
l tra
ditio
n ha
s st
ifled
.
At
this
poi
nt, t
he h
euri
stic
pot
entia
l of m
etad
ata
for a
rt h
isto
ry
mig
ht b
ecom
e cl
eare
r. Co
mm
enta
ry is
per
def
initi
on a
non
-inva
sive
wa
y of
eng
agin
g wi
th a
rtwo
rks
and
arte
fact
s, a
llowi
ng u
s
to th
ink
abou
t his
tori
es o
f rec
eptio
n fr
om a
fres
h pe
rspe
ctiv
e.
Yet t
his
com
men
tary
is n
ot e
xclu
sive
ly s
econ
dary
, but
the
cruc
ial
fram
ewor
k fo
r un
ders
tand
ing
how
we d
efin
e ou
r in
tera
ctio
ns
with
obj
ects
. Con
sequ
ently
, met
adat
a af
fect
s th
e “d
ata”
itse
lf. A
s
the
exam
ples
of t
he G
riffi
n an
d (D
on’t)
Fal
l on
Me,
Are
na C
hape
l sh
ow, c
erta
in s
ets
of in
form
atio
n an
d cl
assi
ficat
ion
ascr
ibed
to
an o
bjec
t inf
luen
ce it
s m
ater
ial h
andl
ing.
Fro
m th
is v
anta
ge p
oint
, m
etad
ata
addr
esse
s th
e cr
ucia
l que
stio
n of
how
info
rmat
ion
ab
out i
mag
es d
eter
min
es h
ow w
e re
late
to th
em.
NO
THIN
G O
RIG
INA
L
Bey
ond
the
stud
ios
and
the
clas
sroo
ms,
an
esse
ntia
l par
t of m
any
ar
t sch
ools
has
bee
n a
colle
ctio
n of
exe
mpl
ary
artw
orks
and
ob
ject
s fo
r th
e st
uden
ts to
imita
te a
nd c
opy:
a te
achi
ng c
olle
ctio
n.
Thes
e co
llect
ions
freq
uent
ly c
onsi
st o
f ver
sion
s of
fam
ous
ar
twor
ks, a
s we
ll as
of n
ew w
orks
by
stud
ents
and
sta
ff,
repr
esen
ting
an a
rchi
ve fr
om w
hich
the
prac
tisin
g ar
tist c
an p
ick
an
d ch
oose
. Thi
s pr
oces
s of
sel
ectio
n an
d tr
ansl
atio
n en
able
s
the
crea
tion
of n
ew a
rt b
y dr
awin
g up
on e
stab
lishe
d m
odel
s, w
hich
se
rve
as p
oint
s of
ori
enta
tion
to w
ork
with
and
aga
inst
.
O
ne s
uch
exam
ple
is th
e Ce
ntra
l Sai
nt M
artin
s M
useu
m a
nd
Stu
dy C
olle
ctio
n, fr
om w
hich
man
y wo
rks
in th
is e
xhib
ition
are
dr
awn.
It w
as fo
rmed
thro
ugh
the
mer
ger
of th
e ea
rlie
r te
achi
ng
colle
ctio
ns o
f Lon
don’
s Ce
ntra
l Sch
ool o
f Art
s an
d Cr
afts
and
th
e Sa
int M
artin
’s Sc
hool
of A
rt. T
he it
ems c
olle
cted
are
acc
essib
le
spec
imen
s of
ear
lier
trad
ition
s th
at c
an b
e dr
awn
upon
by
te
ache
rs a
nd s
tude
nts.
In th
is r
espe
ct, t
he c
olle
ctio
n en
able
s
a ve
ry p
rono
unce
d “a
spec
t-se
eing
”: ar
t obj
ects
are
sca
nned
fo
r el
emen
ts th
at a
re s
uita
ble
for
appr
opri
atio
n, a
nd r
egar
ded
as
form
al m
odel
s ra
ther
than
his
tori
c ar
tefa
cts.
Thi
s pr
inci
ple
de
term
ines
wha
t is
colle
cted
: am
ongs
t the
hol
ding
s we
find
a
mod
ern
repr
oduc
tion
of a
n ic
onic
eng
ravi
ng b
y th
e G
erm
an
Rena
issan
ce a
rtis
t Alb
rech
t Dür
er. T
his
part
icul
ar s
heet
bea
rs
a st
amp
“L.C
.C. A
RT
EX
AM
PL
E 7
36” (
No.
3). T
his
stam
p, b
eing
m
etad
ata,
iden
tifie
s th
e ob
ject
not
as
an o
rigi
nal p
rint
but
as
a
spec
imen
for
educ
atio
nal p
urpo
ses,
thus
mak
ing
the
prin
t in
itsel
f m
etad
ata.
A s
imila
r co
nste
llatio
n ca
n be
obs
erve
d in
the
mod
ern
pu
blic
atio
n of
com
posi
tions
by
Gio
vann
i Bat
tista
Pir
anes
i (N
o.6)
th
at, f
amou
s in
thei
r ow
n ri
ght,
repr
esen
ted
cano
nica
l anc
ient
Ro
man
mon
umen
ts.
The
Cent
ral S
aint
Mar
tins
Mus
eum
and
Stu
dy C
olle
ctio
n ha
s gr
own
and
evol
ved
in m
any
ways
ove
r th
e ye
ars.
The
met
adat
a as
sem
bled
ove
r th
e co
urse
of t
his
hist
ory
refle
cts
the
chan
ging
stat
us o
f the
obj
ects
col
lect
ed. T
he fu
ll-sc
ale
plas
ter
cast
afte
r
the
fifte
enth
-cen
tury
Flo
rent
ine
port
rait
bust
of t
he p
hysi
cian
G
iova
nni C
helli
ni (N
o.4)
, for
exa
mpl
e, r
epro
duce
s in
a c
heap
m
ater
ial a
spe
cim
en o
f a v
ery
spec
ific
Ren
aiss
ance
take
on
a
clas
sica
l art
form
. Unt
il re
cent
ly, t
his
cast
was
firm
ly b
elie
ved
to
der
ive
from
the
colle
ctio
n of
Sai
nt M
artin
’s S
choo
l of A
rt, o
n
the
basis
of t
he p
erce
ptio
n th
at th
is fi
ne a
rt in
stitu
tion,
rat
her
th
an th
e Ce
ntra
l Sch
ool o
f Art
s an
d Cr
afts
, was
als
o th
e so
urce
of
all
“fin
e ar
t” o
bjec
ts in
the
colle
ctio
n. T
he p
hoto
grap
h,
repr
oduc
ed h
ere,
of t
he C
entr
al S
choo
l’s n
ow la
rgel
y lo
st c
ast
colle
ctio
n, d
ocum
ents
, how
ever
, tha
t a c
ast l
ike
the
pres
ent
one
exis
ted
in th
at in
stitu
tion.
Thi
s m
etad
ata
mig
ht b
e su
itabl
e to
un
derm
ine
the
earl
ier
narr
ativ
e.
The
colle
ctio
n no
w in
clud
es o
bjec
ts r
elev
ant t
o al
l disc
iplin
es
taug
ht h
ere:
am
ong
them
text
ile d
esig
n, g
raph
ic d
esig
n,
calli
grap
hy, p
rint
ing
and
fine
art.
The
obje
cts
chos
en fr
om th
e
colle
ctio
n fo
r th
is e
xhib
ition
spe
ak to
the
tran
smis
sion
of d
esig
ns,
such
as
lette
ring
and
line
ar o
rnam
ents
; the
y al
so g
ive
insi
ghts
in
to th
e wo
rksh
op p
ract
ices
of t
he a
rt s
choo
l. B
ritis
h te
xtile
de
signe
r an
d te
ache
r Joy
ce C
lisso
ld r
ecor
ds b
oth
her
reci
pes
for
fa
bric
dye
s an
d th
e m
ater
ial t
race
s of
her
exp
erim
ents
with
dye
an
d co
lour
in h
er D
ye B
ook
(No.
12).
By
now
this
boo
k ha
s be
com
e
an o
bjec
t of a
esth
etic
app
reci
atio
n in
its
own
righ
t, as
wel
l as
th
e in
spir
atio
n fo
r a
cont
empo
rary
rep
rodu
ctio
n of
1920
s te
xtile
dy
es (N
o.13
).
Th
e bl
ack
and
white
pho
togr
aphs
by
Viol
et H
awke
s (N
o.8)
, wh
ich
reco
rd E
dwar
d Jo
hnst
on’s
teac
hing
of c
allig
raph
y on
bl
ackb
oard
s in
this
sch
ool,
may
ori
gina
lly h
ave
been
inte
nded
as
a
conv
enie
nt p
edag
ogic
al to
ol. J
ohns
ton’
s le
tteri
ng a
nd u
se
of o
rnam
ents
dem
onst
rate
a s
elec
tive
appr
oach
towa
rds
late
m
edie
val a
nd e
arly
mod
ern
man
uscr
ipts
, som
e of
whi
ch a
re
also
par
t of t
his
teac
hing
col
lect
ion.
By
stud
ying
met
adat
a in
the
cont
ext o
f an
art s
choo
l’s
colle
ctio
n on
e of
our
key
inte
rest
s is
tech
niqu
es o
f ins
crip
tion:
th
e an
nota
tion
and
clas
sific
atio
n of
obj
ects
and
how
his
tori
c
data
is d
escr
ibed
and
pre
sent
ed in
ord
er to
enc
oura
ge im
itatio
n.
This
doe
s no
t mea
n, o
f cou
rse,
that
thei
r cr
eatio
n in
turn
is
met
adat
a al
one,
alth
ough
they
und
oubt
edly
com
men
t upo
n th
e
mod
els
appr
opri
ated
. At t
his
poin
t it b
ecom
es c
lear
that
the
bo
unda
ries
bet
ween
dat
a an
d m
etad
ata
osci
llate
con
tinuo
usly
. M
etad
ata
mak
es im
ages
and
form
s ac
cess
ible
, in
orde
r fo
r
them
to b
ecom
e th
e ra
w m
ater
ial,
the
data
, allo
wing
art
stu
dent
s
to d
evel
op th
eir
own
appr
oach
es.
PAP
ER
For
man
y ce
ntur
ies
pape
r ha
s be
en th
e pr
imar
y ca
rrie
r of
m
etad
ata.
Boo
ks, m
aps
and
mon
ey a
re th
e ob
viou
s ex
ampl
es o
f ho
w pa
per
has
enab
led
us to
gat
her
stor
ies,
to c
olla
te, c
asca
de,
orga
nise
, sto
re a
nd —
cru
cial
ly —
to tr
ansm
it in
form
atio
n ac
ross
th
e wo
rld,
acr
oss
the
cent
urie
s. It
is th
e ve
ry m
ater
ial
qual
ities
of p
aper
— it
s lig
htne
ss, f
lexi
bilit
y, r
elat
ive
affo
rdab
ility
an
d du
rabi
lity
— th
at h
ave
allo
wed
it to
bec
ome
such
an
endu
ring
ve
hicl
e fo
r re
cord
ing
and
tran
spor
ting
met
adat
a.
Adop
ting
the
aest
hetic
qua
litie
s of
its
pred
eces
sor
parc
hmen
t,
whic
h is
use
d, fo
r ex
ampl
e, to
rec
ord
the
mus
ical
not
atio
n of
the
An
tipho
nal (
choi
r-bo
ok) (
No.
7) o
n di
spla
y, p
aper
has
bec
ome
the
m
ater
ial o
n wh
ich
we h
ave
com
e to
rel
y. O
nly
in 2
017,
the
Hou
se
of L
ords
agr
eed
to r
ecor
d ne
w U
K la
ws o
n pa
per
inst
ead
of th
e tr
aditi
onal
par
chm
ent t
hat h
ad b
een
in u
se s
ince
1497
. It m
ay
seem
ana
chro
nist
ic, b
ut il
lust
rate
s th
at in
our
dig
ital a
ge p
aper
ha
s ac
quir
ed a
n ev
en m
ore
aura
tic q
ualit
y, g
uara
ntee
ing
the
stab
ility
of w
hat i
t rec
ords
. Whi
le d
igita
l sta
ndar
ds o
f con
vers
ion
ar
e no
t yet
uni
vers
ally
agr
eed,
pap
er is
stil
l per
ceiv
ed a
s th
e
ultim
ate
fails
afe.
D
espi
te th
is, p
aper
is fr
eque
ntly
the
mat
eria
l of c
hoic
e no
t be
caus
e of
its
stab
ility
, but
bec
ause
of i
ts m
utab
ility
, ano
ther
pr
oper
ty th
at m
akes
it a
n id
eal t
rans
mitt
er o
f inf
orm
atio
n. A
s su
ch
the
mat
eria
l had
a tr
ue r
enai
ssan
ce in
nin
etee
nth-
cent
ury
ar
chae
olog
y. T
hus
pape
r wa
s ev
en u
sed
to c
opy
the
faca
des
of
mon
umen
ts th
at w
ere
cons
ider
ed fa
r aw
ay a
nd fo
reig
n
— P
erse
polis
in Ir
an, P
alen
que
in M
exic
o an
d th
e Al
ham
bra
in
Spa
in, f
or e
xam
ple.
Arc
haeo
logi
sts
like
Alfr
ed M
auds
lay
ex
ploi
ted
its m
ater
ial q
ualit
ies
in th
e pa
per
mou
ld te
chni
que.
Thi
s
met
hod
uses
laye
rs o
f wet
pap
er to
cre
ate
a ne
gativ
e im
pres
sion
of
the
surf
ace
of a
bui
ldin
g or
obj
ect,
from
whi
ch a
pos
itive
cou
ld
be c
ast i
n pl
aste
r.
Pa
per
mou
ldin
g en
able
d an
impr
int o
f a m
onum
ent t
o be
brou
ght w
ith a
ll its
det
ails
bac
k to
the
mus
eum
, in
the
age
befo
re
both
dig
ital r
epro
duct
ion
and
chea
p an
d re
liabl
e ph
otog
raph
y.
A Fr
ench
arc
haeo
logi
st, L
ottin
de
Lava
l had
wri
tten
and
pu
blis
hed
a po
cket
-siz
ed g
uide
to th
e te
chni
que,
Man
uel d
e
Lotti
nopl
astiq
ue (N
o.16
), to
be
used
by
the
amat
eur
expl
orer
, with
th
e id
ea th
at a
nyon
e co
uld
copy
det
ails
of b
uild
ings
and
m
ake
repr
oduc
tions
for
thei
r ho
me.
Mau
dsla
y’s
appl
icat
ion
of th
e
tech
niqu
e is
test
amen
t to
its s
ucce
ss.
Thes
e pa
per
mou
lds
were
che
ap to
mak
e an
d ve
ry li
ght a
nd
easy
to tr
ansp
ort t
o Eu
rope
. The
cas
ts m
ade
from
them
wer
e
used
to s
tudy
the
arte
fact
s, fo
r di
spla
y an
d te
achi
ng, a
s we
ll as
to
reco
nstr
uct e
ntir
e m
onum
ents
from
wha
t wer
e co
nsid
ered
“exo
tic” p
lace
s. Th
e B
ritis
h M
useu
m h
as a
rar
e co
llect
ion
of th
ese
orig
inal
pap
er m
ould
s an
d th
eir
plas
ter
cast
s m
ade
by M
auds
lay
fr
om th
e M
ayan
mon
umen
ts o
f Gua
tem
ala
and
Mex
ico,
exa
mpl
es
of w
hich
are
on
disp
lay
for
the
first
tim
e in
this
exh
ibiti
on (N
o.15
).
Thes
e pa
per
mou
lds
were
nev
er m
eant
to e
ndur
e, th
ey w
ere
ep
hem
eral
tran
smitt
ers.
How
ever
, the
mou
lds
toge
ther
with
th
e pl
aste
r ca
sts
mad
e fr
om th
em b
ear
the
phys
ical
impr
ints
of t
he
obje
cts
they
touc
hed,
tran
smitt
ing
not o
nly
the
shap
es o
f th
e m
onum
ents
but
als
o th
eir
flaws
, tra
ces
of th
eir
mak
ers
and
th
e pl
aces
whe
re th
ey w
ere
mad
e. In
som
e ca
ses,
they
ca
rry
the
met
adat
a fo
r m
onum
ents
that
in th
eir
orig
inal
form
hav
e
dete
rior
ated
and
bec
ome
illeg
ible
. Tod
ay, p
ract
ition
ers
of
Dig
ital H
uman
ities
use
met
adat
a so
urce
s lik
e th
ese
to c
onst
ruct
di
gita
l ver
sion
s of
the
orig
inal
bui
lt st
ruct
ures
.
Th
is te
chni
que
is n
ot o
nly
of in
tere
st fo
r re
sear
cher
s bu
t als
o
for
cont
empo
rary
art
ists
, suc
h as
Nic
ola
Lori
ni. H
is w
ork
in
vest
igat
es h
ow o
bjec
ts a
nd n
arra
tives
from
the
past
trav
el a
nd
mut
ate
thei
r co
nditi
ons.
In H
ôtel
Cul
ny (N
o.17
), Lo
rini
has
ad
apte
d th
e pa
per
mou
ld te
chni
que
of L
ottin
opla
stiq
ue to
inst
igat
e
a di
alog
ue b
etwe
en m
ater
ial p
rodu
ctio
n an
d th
e in
terp
reta
tion
and
tran
smis
sion
of i
nfor
mat
ion
thro
ugh
pape
r. Th
e pa
per
mou
ld
tech
niqu
e al
so in
form
s th
e su
bjec
t mat
ter
of L
orin
i’s w
ork:
hi
s ep
hem
eral
scu
lptu
res
are
take
n, n
ot fr
om a
ncie
nt m
onum
ents
, bu
t fro
m th
e va
ns u
sed
by m
useu
ms
for
art t
rans
port
.
A
sim
ilar
stra
tegy
is d
eplo
yed
by a
rtis
t and
fash
ion
desi
gner
H
usse
in C
hala
yan,
like
Lor
ini a
Cen
tral
Sai
nt M
artin
s gr
adua
te.
In h
is P
aper
Dre
ss (N
o.14
), Ch
alay
an p
lays
with
thes
e qu
aliti
es o
f fle
xibi
lity
and
port
abili
ty. H
e cr
eate
d a
piec
e of
act
ually
we
arab
le c
loth
ing
mad
e fr
om a
toug
hene
d fib
re p
aper
. Thi
s pi
ece
is
in fa
ct it
s ow
n ai
rmai
l env
elop
e an
d ca
n be
fold
ed a
nd s
ent i
n
the
post
, to
be o
pene
d an
d wo
rn b
y th
e re
cipi
ent.
Sty
les
in fa
shio
n
trav
el; a
nd d
ispl
acem
ent a
nd m
igra
tion
are
one
of th
e de
sign
er’s
re
curr
ent t
hem
es.
DE
CO
DIN
G
The
mod
ern
term
“dat
a” g
oes
back
to th
e La
tin w
ord
“dat
um”:
so
met
hing
that
is g
iven
. But
can
we
legi
timat
ely
clai
m to
acc
ess
th
ings
that
are
just
that
: a “g
iven
”? H
isto
ry is
mad
e of
laye
r
upon
laye
r of
com
men
tary
. We
all a
ct in
the
fram
ewor
ks o
f hab
its,
stru
ctur
es, t
radi
tions
, the
par
amet
ers
set f
or o
ur a
ctio
ns
by p
ast e
vent
s. A
s al
so e
stab
lishe
d in
the
othe
r es
says
, the
re is
“n
othi
ng o
rigi
nal”
unde
r th
e su
n. A
ll m
eani
ng a
nd fa
cts
seem
hi
stor
ical
ly c
ontin
gent
and
con
stru
cted
. Con
sequ
ently
, one
mig
ht
conc
lude
that
ther
e is
no
such
thin
g as
“dat
a” a
nywa
y. In
this
sens
e,
our
perc
eptio
n of
the
worl
d is
met
adat
a.
Ye
t, in
the
digi
tal a
ge, t
his
old
conf
igur
atio
n se
ems
to h
ave
be
en a
t lea
st p
artia
lly o
vert
urne
d. T
he d
ata
para
digm
allo
ws fo
r
the
desc
ribi
ng a
nd d
ecod
ing
of in
form
atio
n in
a b
inar
y co
de
of o
nes
and
zero
s, tr
ansl
atin
g re
ality
into
an
abst
ract
num
eric
al
code
. Art
ist L
ouisa
Min
kin
brin
gs d
igita
l cod
e to
the
fore
grou
nd
by e
xplo
iting
diff
eren
ces
in th
e da
ta fr
om v
ario
us r
epro
duct
ions
of a
wel
l-kn
own
pain
ting
in th
e N
atio
nal G
alle
ry in
her
wor
k
Hol
bein
Glit
ch (N
o.28
). Th
ese
diffe
renc
es, k
ey to
the
work
, re
mai
n in
visi
ble
to th
e vi
ewer
and
can
onl
y be
acc
esse
d th
roug
h
her
rese
arch
mat
eria
l.
Co
ding
is n
ot a
con
cept
that
is e
xclu
sive
to th
e di
gita
l age
; fo
r in
stan
ce, t
he s
even
teen
th-c
entu
ry p
hilo
soph
er G
ottfr
ied
W
ilhel
m L
eibn
iz a
ttem
pted
to d
eriv
e a
bina
ry n
umer
al sy
stem
from
th
e es
senc
e of
Chr
istia
n th
eolo
gy —
God
and
cre
atio
n
repr
esen
ted
by o
ne a
nd z
ero
— a
nd h
is c
onte
mpo
rary
Fra
ncis
B
acon
und
erto
ok to
enc
ode
the
alph
abet
in a
bin
ary
“cip
her”
. B
ut m
oder
n in
form
atio
n te
chno
logy
has
impl
emen
ted
this
con
cept
to
an
unpr
eced
ente
d de
gree
. We
are
surr
ound
ed b
y di
gita
l co
de —
one
s an
d ze
ros
loom
beh
ind
all t
he s
hiny
form
s an
d ic
ons
th
at g
over
n ou
r da
ily e
xist
ence
. Rec
ently
, thi
s an
alyt
ic
deco
mpo
sitio
n wa
s ev
en e
xten
ded
to th
e na
tura
l wor
ld. W
ith th
e
asto
nish
ing
adva
ncem
ents
in th
e se
quen
cing
of g
enom
es s
ince
the
1990
s, li
fe it
self
can
be e
xpre
ssed
in te
rms
of d
ata
units
.
Se
vera
l wor
ks in
this
exh
ibiti
on r
efle
ct o
n th
ese
prop
ertie
s of
da
ta, a
imin
g on
the
one
hand
to v
isua
lise
this
diss
olut
ion
of fo
rm
in th
e pr
oces
s of
enc
odin
g an
d de
codi
ng w
hile
als
o hi
ghlig
htin
g
the
degr
ee o
f inf
orm
atio
n an
d m
etad
ata
that
nec
essa
rily
is
crea
ted
thro
ugh
this
pro
cess
. The
ana
lysi
s, o
ne m
ight
con
clud
e,
resu
lts in
met
adat
a its
elf.
Amon
g th
e m
ost a
ctiv
e pa
rtic
ipan
ts
in th
ese
deba
tes
are
text
ile d
esig
ners
and
art
ists
who
wor
k on
the
bo
rder
of a
rt a
nd s
cien
ce. T
his
is m
aybe
uns
urpr
isin
g, g
iven
th
at te
chno
logi
es s
uch
as th
e lo
om a
re fr
eque
ntly
con
side
red
as
prec
urso
rs o
f mod
ern
com
putin
g. T
he J
acqu
ard
mac
hine
, in
vent
ed in
180
4, is
onl
y th
e m
ost p
rom
inen
t exa
mpl
e of
a n
ew
gene
ratio
n of
loom
s th
at w
ere
cont
rolle
d by
pun
ch c
ards
, with
th
e “c
ode”
rec
orde
d on
thes
e ca
rds
dete
rmin
ing
the
oper
atio
ns
of th
e m
achi
ne. S
uch
punc
h ca
rds
were
eve
ntua
lly a
lso
us
ed to
inpu
t dat
a fo
r th
e fir
st c
ompu
ters
. Con
tem
pora
ry te
xtile
desi
gner
s su
ch a
s R
osem
ary
Hou
se c
ombi
ne th
ese
tech
nolo
gies
by
usi
ng d
igita
l loo
ms
for
prod
ucin
g th
eir
intr
icat
e we
aves
. In
MID
AS
(No.
21),
a m
oder
n co
mpu
ter
feed
s th
e da
ta c
omm
ands
to
the
loom
, rep
laci
ng th
e ol
der
punc
h ca
rds.
The
wide
-mes
hed
we
ave
subt
ly a
llude
s to
the
digi
tal t
echn
olog
ies
it is
bas
ed o
n by
ex
posin
g a
grid
-lik
e st
ruct
ure
asso
ciat
ed w
ith d
igita
l aes
thet
ics.
In s
uch
case
s, c
ode
enab
les
the
crea
tion
of n
ew fo
rms.
This
is
mos
t per
tinen
t in
the
case
of D
NA
, the
bin
ary
stru
ctur
e of
wh
ich
can
be e
mpl
oyed
, lite
rally
, to
prog
ram
me
the
build
ing
bloc
ks
of li
fe —
but
equ
ally
to d
econ
stru
ct th
em. C
arol
e Co
llet w
orks
al
ong
this
dia
lect
ic, u
sing
tech
nolo
gica
l adv
ance
men
ts in
DN
A
sequ
enci
ng to
dev
elop
new
, bio
degr
adab
le te
xtile
s —
bot
h
sust
aina
ble
and
peri
shab
le. T
heir
dea
th is
, ind
eed,
pro
gram
med
. Co
llet’s
wor
k re
flect
s on
the
insi
ghts
and
dat
a pr
ovid
ed b
y D
NA
sequ
enci
ng. T
his
beco
mes
par
ticul
arly
evi
dent
in th
e re
sear
ch
mat
eria
l fea
ture
d in
the
exhi
bitio
n (N
o.20
). In
the
gree
n te
xtile
,
rem
inis
cent
of b
oth
a Pe
tri d
ish
or th
e ci
nem
atic
vis
ualis
atio
n of
da
ta in
the
mov
ie “T
he M
atri
x” (1
999,
US
A, W
arne
r B
ros.)
, Co
llet e
xhib
its s
eque
nces
of n
umbe
rs a
nd d
epic
tions
of C
. ele
gans
, th
e pa
rasi
te w
hose
dec
oded
DN
A fo
rms
the
basi
s fo
r he
r
prod
uct d
evel
opm
ent.
The
work
hin
ts a
t the
ana
logi
es b
etwe
en
the
thre
ads
of th
e D
NA
seq
uenc
e an
d th
e th
read
use
d fo
r
weav
ings
: the
y br
ing
into
exi
sten
ce th
e ve
ry fo
rms
that
in tu
rn w
ill
prod
uce
the
supe
rstr
uctu
res
that
allo
w th
em to
be
deco
ded.
Th
e re
latio
nshi
p be
twee
n an
alys
is a
nd m
akin
g is
a c
ompl
ex
and
inte
rwov
en o
ne, t
hat s
omet
imes
eve
n le
ads
to th
e di
ssol
utio
n
of th
e or
igin
al s
ourc
e. M
etad
ata
prov
ides
info
rmat
ion
abou
t the
st
ruct
ure
of d
ata,
but
als
o co
ntai
ns th
e m
eans
to ta
ke it
apa
rt.
Sar
ah C
rask
e ex
plor
es th
is d
ynam
ic in
one
of t
he c
lass
ical
re
alm
s of
met
adat
a —
the
libra
ry. I
n th
e lib
rary
the
cata
logu
e
and
read
ers’
reg
iste
r ke
ep r
ecor
d of
the
curr
ent l
ocat
ion
and
us
age
of b
ooks
. Cra
ske’
s pr
ojec
t Bio
logi
cal H
erm
eneu
tics
(No.
22)
appl
ies
this
pri
ncip
le to
a ty
pe o
f met
adat
a th
at is
invi
sibl
e to
th
e na
ked
eye:
the
mar
ks le
ft by
rea
ders
ove
r tim
e on
an
ei
ghte
enth
-cen
tury
cop
y of
Ovi
d’s
Met
amor
phos
es. S
ettin
g as
ide
th
e co
nven
tiona
l lite
rary
met
adat
a, th
e ar
tist f
ocus
es o
n
biol
ogic
al tr
aces
: swe
at, s
kin
and
spor
es tr
ansm
itted
from
the
re
ader
ont
o th
e pa
ge. C
rask
e ex
trac
ted
the
bact
eria
by
taki
ng
the
book
apa
rt a
nd c
ultiv
atin
g th
e ba
cter
ial c
olon
ies
on
each
sin
gle
page
; alth
ough
lite
rally
dec
onst
ruct
ing
the
book
, th
is a
naly
sis
form
s th
e ba
sis
for
cons
truc
ting
an e
ntir
ely
new
lib
rary
, a g
enet
ic li
brar
y of
bac
teri
a. T
he o
utco
me
is a
set
of
met
adat
a pr
ovid
ing
a we
alth
of i
nfor
mat
ion
on th
e vo
lum
e, O
vid’
s
Met
amor
phos
es b
eing
itse
lf a
book
abo
ut th
e m
utat
ion
of fo
rms.
NO
ISE
Tran
smis
sion
, in
its b
road
est s
ense
, is
the
act o
f tra
nsfe
rrin
g
info
rmat
ion
from
a s
ourc
e to
a r
ecei
ver.
The
info
rmat
ion
tr
avel
ling
in th
is w
ay c
an b
e di
ffere
ntia
ted
into
two
cate
gori
es:
it ei
ther
con
sist
s of
the
actu
al s
ourc
e da
ta o
r it
refe
rs to
the
so
urce
dat
a, w
hile
the
latte
r re
mai
ns st
atio
nary
. In th
e se
cond
case
, in
ord
er to
be
tran
sfer
red,
the
data
mus
t be
tran
sfor
med
into
a
sign
al. T
he p
roce
ss o
f the
tran
smis
sion
of a
sig
nal i
s co
nsid
ered
su
cces
sful
whe
n th
e in
form
atio
n th
at w
as s
ent o
ff by
the
sour
ce
arri
ves
at a
nd is
com
preh
ende
d by
the
rece
iver
. Thi
s is
true
bot
h
for
a co
nver
satio
n in
whi
ch o
ne p
erso
n is
com
mun
icat
ing
dire
ctly
wi
th a
noth
er, a
s wel
l as
for
indi
rect
con
vers
atio
ns s
uch
as w
ritte
n
corr
espo
nden
ce. I
ndir
ect c
omm
unic
atio
n, h
owev
er, i
ncre
ases
th
e po
ssib
ility
of a
misi
nter
pret
atio
n of
the
info
rmat
ion
that
is b
eing
tr
ansf
erre
d. T
his
incr
ease
is p
ropo
rtio
nal t
o a
loss
of d
ata.
Th
us a
lette
r ca
rrie
s wo
rds
but l
acks
the
addi
tiona
l inf
orm
atio
n
prov
ided
by
gest
ure,
faci
al e
xpre
ssio
ns o
r to
ne. M
oreo
ver,
it do
es n
ot a
llow
for
an im
med
iate
rea
ctio
n by
the
rece
iver
and
de
priv
es th
e so
urce
of t
he p
ossi
bilit
y of
, if n
eces
sary
, adj
ustin
g
thei
r or
igin
al s
tate
men
t in
rela
tion
to s
uch
a re
actio
n. If
suc
h
a lo
ss o
f dat
a am
ount
s to
a c
ritic
al le
vel,
the
rece
iver
may
find
th
emse
lves
inca
pabl
e of
pro
cess
ing
the
info
rmat
ion
and
thus
th
ere
is u
ltim
atel
y a
failu
re in
tran
smis
sion
.
“N
oise
” is
used
in s
emio
tics,
the
stud
y of
com
mun
icat
ion
base
d
on s
igns
, to
desc
ribe
a fa
ctor
that
inte
rfer
es w
ith th
e tr
ansm
issio
n
of a
sig
nal.
This
inte
rfer
ence
can
be
addi
tive,
for
exam
ple
a lo
ud
soun
d, s
uch
as tr
affic
noi
se, t
hat i
mpe
des
a di
alog
ue b
etwe
en
two
peop
le, o
r su
btra
ctiv
e, th
e ab
senc
e of
a s
igna
l tha
t int
erru
pts
a
tele
phon
e ca
ll ca
used
by
bad
rece
ptio
n. B
oth
are
loca
ted
at
oppo
site
end
s of
a s
pect
rum
and
can
eve
ntua
lly m
ake
the
tran
sfer
of
info
rmat
ion
impo
ssib
le. “
Noi
se”,
howe
ver,
is n
ot a
lway
s
disr
uptiv
e, b
ut c
an b
e a
nece
ssar
y pa
rt o
f a s
ucce
ssfu
l tra
nsfe
r.
Sta
ying
with
the
exam
ple
of te
leph
onic
com
mun
icat
ion,
whe
n
the
acou
stic
sig
nals
of a
hum
an v
oice
are
tran
sfor
med
into
el
ectr
onic
sig
nals
, the
ir r
adio
spe
ctru
m is
red
uced
. Thi
s
redu
ctio
n, w
hile
a lo
ss o
f dat
a, fa
cilit
ates
the
tran
sfer
abili
ty o
f th
e es
sent
ial i
nfor
mat
ion.
Th
e am
bigu
ity o
f the
qua
lity
of “n
oise
” con
cern
ing
the
tran
sfer
of
info
rmat
ion
beco
mes
evi
dent
in a
wor
k lik
e Je
rem
y W
ood’
s 15
Ye
ars o
f Mow
ing
(No.
23).
Des
crib
ing
his p
ract
ice
as “G
PS
dra
wing
”,
the
artis
t has
equ
ippe
d hi
mse
lf wi
th a
GP
S d
evic
e an
d, fo
r
alm
ost t
wo d
ecad
es n
ow, h
as c
onst
antly
rec
orde
d hi
s m
ovem
ents
—
bet
ween
cou
ntri
es, w
ithin
Lon
don
and
even
at h
ome,
mow
ing
his
la
wn. W
ood
proc
esse
s th
e in
form
atio
n ab
out t
he tr
acks
his
bod
y
is m
akin
g th
roug
h sp
ace,
the
digi
tal t
race
s th
at th
is p
hysi
cal
mov
emen
t lea
ves
behi
nd in
var
ying
way
s in
his
art
istic
pra
ctic
e.
The
work
s in
form
ed b
y th
e ac
cum
ulat
ed d
ata
diffe
r in
focu
s an
d em
phas
is. W
here
did
the
reco
rded
mov
emen
t tak
e pl
ace?
O
ver
what
am
ount
of t
ime?
How
are
diff
eren
ces
in fr
eque
ncy
of
this
mov
emen
t rep
rese
nted
? Th
ese
deci
sion
s af
fect
the
orig
inal
ly
reco
rded
info
rmat
ion,
or
rath
er th
e vi
sual
sig
nals
that
it is
be
ing
tran
sfor
med
into
. In th
at s
ense
, the
art
istic
dec
isio
ns a
ct a
s
“noi
se”,
for
they
inte
rfer
e wi
th th
e tr
ansf
er o
f tho
se s
igna
ls. A
nu
mbe
r of
line
s sh
ine
brig
ht a
gain
st a
dar
k ba
ckgr
ound
, cro
ssin
g
each
oth
er w
ith v
aryi
ng d
ensi
ty a
nd a
ddin
g up
to a
gra
phic
fo
rm. T
his
form
can
no
long
er b
e un
ders
tood
as
a vi
sual
jour
nal
of W
ood’
s to
urs
on th
e la
wn in
his
bac
kyar
d, h
ardl
y fu
lfilli
ng,
even
inve
rtin
g th
e us
ual p
urpo
se o
f a m
ap —
to p
rovi
de o
rien
tatio
n
in s
pace
. By
corr
uptin
g th
e tr
ansf
er o
f a s
igna
l, th
e ar
tist h
as
diss
ocia
ted
the
proc
ess
of tr
ansm
issi
on o
f inf
orm
atio
n fr
om th
e
cons
trai
nt o
f com
preh
ensib
ility
. The
art
ist h
as ta
ken
on th
e ro
le
of “n
oise
”. Th
e ar
t wor
k, h
owev
er, d
oes
not r
epre
sent
a fa
ilure
in
the
tran
smiss
ion
of in
form
atio
n, b
ut o
pens
the
tran
sfer
red
signa
l fo
r in
terp
reta
tion.
The
cont
ext i
n wh
ich
this
wor
k ap
pear
s, th
e ga
llery
, for
ms
part
in th
is p
rodu
ctiv
e di
stor
tion.
As
a re
fere
ntia
l sys
tem
, it
dete
rmin
es th
e sp
ectr
um o
f pot
entia
l int
erpr
etat
ions
. Thi
s po
ses
qu
estio
ns r
egar
ding
the
role
of i
nstit
utio
ns in
the
tran
smis
sion
of
info
rmat
ion.
Can
an
inst
itutio
n lik
e a
mus
eum
be
rega
rded
as
a
med
ium
thro
ugh
whic
h in
form
atio
n, e
ncap
sula
ted
in it
s ho
ldin
gs,
is c
omm
unic
ated
not
so
muc
h th
roug
h sp
ace
but t
ime?
If s
o, it
too
is
sus
cept
ible
to th
e co
rrup
tive,
but
als
o th
e fa
cilit
atin
g qu
aliti
es
of “n
oise
” in
the
proc
ess
of s
uch
a tr
ansm
issi
on.
This
rai
ses
ques
tions
whi
ch a
re, a
mon
g ot
hers
, add
ress
ed b
y
the
work
of N
ora
Al-B
adri
and
Nik
olai
Nel
les
(No.
26).
They
cla
im
to h
ave
scan
ned
the
worl
d-fa
mou
s bu
st o
f Nef
ertit
i, cur
rent
ly h
eld
in
the
Neu
es M
useu
m in
Ber
lin. O
nce
they
had
acq
uire
d th
e da
ta,
they
rel
ease
d it
to th
e pu
blic
. As
an o
pen
sour
ce, t
he N
efer
titi
can
now
be r
epro
duce
d, r
edes
igne
d an
d re
adap
ted
by a
nyon
e
— a
n an
cien
t scu
lptu
re p
ropa
gate
d in
to a
mul
titud
inou
s
digi
tal o
ffspr
ing.
By
evok
ing
the
idea
of a
“dig
ital a
rt th
eft”,
thei
r
work
spe
aks
to th
e wa
ys in
whi
ch d
igita
l inn
ovat
ion
is r
esha
ping
bo
th p
ract
ices
of a
rt a
nd th
e ci
rcul
atio
n of
cul
tura
l goo
ds.
An in
stitu
tion,
res
pons
ible
for
the
cura
tion
of a
n ar
chae
olog
ical
ob
ject
and
the
faci
litat
ion
of it
s re
sear
ch a
nd p
ublic
dis
play
, re
veal
s its
elf a
s be
ing
prim
arily
the
owne
r of
the
copy
righ
t to
a
desi
gn w
hose
aut
hor
is lo
ng-s
ince
dea
d an
d th
at is
, at l
east
id
eally
, con
sider
ed a
s pa
rt o
f a c
ultu
ral h
erita
ge b
elon
ging
to a
ll
of h
uman
ity.
For
us th
e m
useu
m is
a h
ub o
f cul
tura
l kno
wled
ge a
nd it
s tr
ansm
issi
on. B
ut w
ithin
this
con
text
new
pro
blem
s ar
ise:
who
ac
ts a
s “s
ourc
e”, w
ho a
s “r
ecei
ver”
? W
hat d
efin
es th
e su
cces
s of
th
e tr
ansf
er in
que
stio
n? W
hat a
genc
y is
to b
e at
trib
uted
to
the
med
ium
of t
he tr
ansm
issio
n? H
ence
, for
exa
mpl
e, th
e ne
cess
ity
of r
esto
ratio
n wh
ile s
usta
inin
g th
e du
rabi
lity
of a
n ob
ject
is a
lso
an
act
of i
nter
fere
nce
in it
s m
ater
ial h
isto
ry. T
hus
the
cond
ition
s
of th
e cu
ratio
n of
cul
tura
l goo
ds c
an b
e de
scri
bed
in te
rms
of
“noi
se”.
Ackn
owle
dgin
g th
is is
not
a c
all t
o “c
lear
the
sign
al”.
It
poin
ts to
the
nece
ssity
of b
ecom
ing
awar
e of
the
exis
tenc
e of
su
ch “n
oise
” and
mak
ing
it an
othe
r so
urce
of o
bser
vatio
n an
d
inte
rpre
tatio
n.
LIS
T O
F IM
AG
ES
Read
ing
room
of t
he K
ultu
rwiss
ensc
haftl
iche
Bib
lioth
ek W
arbu
rg
in H
ambu
rg w
ith a
n im
age
disp
lay
by A
by W
arbu
rg o
n O
vid,
19
27, p
hoto
grap
h. C
ourt
esy
of T
he W
arbu
rg In
stitu
te A
rchi
ve.
Entr
y fo
r “G
riffi
n” fr
om th
e Ce
ntra
l Sai
nt M
artin
s M
useu
m a
nd
Stu
dy C
olle
ctio
n on
line
cata
logu
e, s
cree
nsho
t.
(Don
’t) F
all o
n M
e, A
rena
Cha
pel b
y H
enri
etta
Sim
son,
exh
ibite
d
at th
e S
lade
Sch
ool o
f Art
, 201
6. P
hoto
grap
h: H
enri
etta
Sim
son.
L.C
.C. A
RT
EX
AM
PL
E 7
36, d
etai
l fro
m a
nin
etee
nth-
cent
ury
re
prod
uctio
n of
Alb
rech
t Dür
er’s
eng
ravi
ng M
elen
colia
I,
phot
ogra
ph. C
ourt
esy
of th
e Ce
ntra
l Sai
nt M
artin
s M
useu
m a
nd
Stu
dy C
olle
ctio
n.
A dr
awin
g cl
ass
at th
e L
.C.C
. Cen
tral
Sch
ool o
f Art
s an
d Cr
afts
di
spla
ying
the
colle
ctio
n of
pla
ster
cas
ts, i
nclu
ding
the
bust
of
Che
llini
, ear
ly tw
entie
th-c
entu
ry, p
hoto
grap
h. C
ourt
esy
of th
e
Cent
ral S
aint
Mar
tins
Mus
eum
and
Stu
dy C
olle
ctio
n.
Alfr
ed M
auds
lay
and
his
assis
tant
s at
Pal
enqu
e in
Mex
ico,
1890
s,
phot
ogra
ph. C
opyr
ight
: Tru
stee
s of
the
Bri
tish
Mus
eum
.
Part
of a
van
use
d in
the
work
of N
icol
a Lo
rini
, 201
7. P
hoto
grap
h:
Nic
ola
Lori
ni.
Rese
arch
mat
eria
l for
Hol
bein
Glit
ch b
y Lo
uisa
Min
kin,
201
7. Co
urte
sy o
f the
art
ist.
Com
posi
te p
hoto
grap
h of
the
title
pag
e of
Ovi
d’s
Met
amor
phos
es
with
bac
teri
al fl
ora.
Par
t of B
iolo
gica
l Her
men
eutic
s by
Sar
ah
Cras
ke, 2
016.
Cou
rtes
y of
the
artis
t.
Rep
rodu
ctio
n of
15
Year
s of
Mow
ing
by J
erem
y W
ood,
201
5.
Pho
togr
aph:
Jer
emy
Woo
d.
1
THE INTERNATIONAL RESEARCH GROUP “BILDERFAHRZEUGE. ABY WARBURG’S LEGACY AND THE FUTURE OF ICONOLOGY” Design by Kellenberger—WhiteMetadata2018Booklet
This booklet accompanies the exhibition “Metadata: how we relate to images”. It functions as an archive, storing the metadata relating to the works and documents on display. By adopting the format of a sketchbook, the booklet’s design merges the act of cataloguing with a practice of incidental documentation.
2
HENRIETTA SIMSON(Don’t) Fall on Me, Arena Chapel2016Digital image on silk, polyester rope, carabiners, industrial fanCourtesy of the artist
Simson took photographs of the thirteenth- century fresco cycle by Giotto in the Arena Chapel in Padua and printed them on a silk parachute. The parachute is inflated by a fan, creating a new version and animation of this pictorial space.
3
L.C.C. ART EXAMPLE 736Late nineteenth centuryPrint on paperCourtesy of Central Saint Martins Museum and Study Collection
As the stamp makes clear, this modern reproduction of Albrecht Dürer’s famous engraving “Melencolia I” was part of the London County Council art holdings. It was transferred to the Central School of Arts and Crafts to serve as a teaching model for students.
4
ANTONIO ROSSELLINOBust of Giovanni di Antonio ChelliniNineteenth centuryPlaster cast after marble originalCourtesy of Central Saint Martins Museum and Study Collection
This cast was acquired by the art school even though the original marble of 1456 was and is on display at the Victoria and Albert Museum. Plaster casts like this were an accessible means to disseminate three-dimensional forms in original dimensions. The Renaissance bust merges older models: classical portrait busts and medieval Christian head reliquaries.
5
NOEL ROOKEPortrait of William Lethaby 1920sBlack ink on paperCourtesy of Central Saint Martins Museum and Study Collection
Lethaby appears before the Central School of Arts and Crafts which he founded and Westminster Abbey where he was surveyor. Brockhampton Church, in the foreground, was also built by Lethaby. The fall of light and staging monumentalise the sitter and allude to classical busts.
6
DESIGN BY GIOVANNI BATTISTA PIRANESI, EDITED BY WILLIAM YOUNGRoman architecture sculpture and ornament 1900 Title pageCourtesy of Central Saint Martins Museum and Study Collection
The twentieth-century publication of compositions by Piranesi from which this loose sheet is taken, adopts the title page of his 1761 Della Magnificenza e d’Architettura de’ Romani. Regarded as works in their own right, the eighteenth-century prints were collected and used by antiquarians, architects and artists.
7
FRENCHAntiphonal (choir-book)Fifteenth century Tempera on parchmentCourtesy of Central Saint Martins Museum and Study Collection
This page from a choral score was once used by monks. While the black lettering is the text of the Psalm, “Domine in tua misericordia speravi...”, the red lettering functions as an index, helping the monks in finding the appropriate page. In the context of an art school, the main focus will have rested on calligraphy and ornamentation.
8
VIOLET E. HAWKESEdward Johnston’s Blackboards 1900—1944PhotographsCourtesy of Central Saint Martins Museum and Study Collection
These photographs document the lessons of one of the most famous calligraphers of his day, Edward Johnston. They exemplify the different styles and ornamentation he taught students and are intriguing documents of his classroom practice. Taken at different stages, they trace the successive accumulation of writing samples.
9
WILLIAM MORRISA note by William Morris on his aims in founding the Kelmscott Press 1934 editionBookCourtesy of Central Saint Martins Museum and Study Collection
This book presents the different types and ornamentations designed and used by the press, founded in 1891, whilst the text narrates its history. Morris draws on medieval manuscripts and early printed books. His designs would become models for students at the Central School of Arts and Crafts.
10
OWEN JONESThe Grammar of Ornament 1856Book (folio edition)Courtesy of Central Saint Martins Museum and Study Collection
Jones highlights examples of pattern and ornament from global architecture and decorative arts in his hugely successful publication. He intended the book as a source of design principles rather than as a model for copying, though it was used as both. This is one of multiple copies of this work owned by Central Saint Martins, highlighting its importance.
11
MORRIS AND CO., JOHN HENRY DEARLE (DESIGN)Wallpaper (“Seaweed”) 1890sPrint sampleCourtesy of Central Saint Martins Museum and Study Collection
Early wallpapers by Morris and Co., were printed in multiple colours from wood blocks. The designs draw on natural forms of plants, often mediated through patterns the designers found in medieval illuminated manuscripts, early modern prints and pattern books, such as the Grammar of Ornament.
12
JOYCE CLISSOLD Dye book 1920sLedgerCourtesy of Central Saint Martins Museum and Study Collection
This book was used by Clissold, an artist and teacher at Central Saint Martins, to record her design ideas and recipes for fabric dyes. Splashes of dye are testament to its practical function: a laboratory for testing the visual effect of colouring formulas.
13
MATTHEW CLARK Real Dirty Blue2016Research material: Dye sample, paperCourtesy of Central Saint Martins Museum and Study Collection
Real Dirty Blue is the name of one of the dyes from Joyce Clissold’s Dye Book. The research exhibited here, originally undertaken for an exhibition at the Lethaby Gallery, shows Matthew Clark’s attempt to recreate the dye from the original recipe.
14
HUSSEIN CHALAYANPaper Dress2013 TyvekCourtesy of Central Saint Martins Museum and Study Collection
Made from a synthetic fibre used for airmail envelopes, Paper Dress embodies transportability by assuming the shape of this very envelope. Labels instruct how to handle the delicate item and to unfold it into a wearable dress.
15
ALFRED MAUDSLAYPaper mould and plaster cast 1890sPaper, plasterCourtesy of the Trustees of the British Museum
These paper moulds were made by the British archaeologist Alfred Maudslay for documenting the Mayan monuments of Palenque in Mexico. Using this light and cheap technique, he made imprints of the surfaces of the ruins; these were subsequently cast in plaster in London for study and display.
16
LOTTIN DE LAVALManuel complet de Lottinoplastique 1857BookletPrivate Collection
This pocket-sized manual, written by a French explorer of the Middle East, describes a method of making impermeable paper moulds (Lottinoplastique) while researching abroad. Easy to transport, these moulds can later be cast in plaster.
17
NICOLA LORINIHôtel Culny2017 Tissue paper, boiled linseed oil, flour, animal glueCourtesy of the artist
Reviving the technique of Lottinoplastique, Lorini created paper moulds of vans used by museums for transporting artefacts: a reflection exploring affinities between two techniques for making art mobile. The ethereal quality of the shells underlines the fragility of this process.
18
NICOLA LORINIHôtel Culny (Le Danse Du Monde)2017 Archival c-printCourtesy the artist
Together with the sculptural casts, Lorini presents two photographs from a self- published book that juxtaposes original photographs taken of Mayan sites in the nineteenth century with photographs of vehicles’ body shells taken by the artist.
19
HENRIETTA SIMSONSpectre2013HDV Projection, 13 mins (loop)Courtesy of the artist
Spectre is an installation consisting of two projections layered on top of each other — a photographic one of Ambrogio Lorenzetti’s small landscape panel Castle by a Lake, painted c.1340 and an HD video of a paper boat sinking in the Regent’s Canal, London. A reflection on becoming and unbecoming, and the fragility of the medium paper.
20
CAROLE COLLETResearch material for Nobel Textiles; Suicidal Textiles2008Woven polyester, ring-bound notebookCourtesy of Central Saint Martins Museum and Study Collection
This research material illustrates how Collet, an experimental product designer, uses advancements in DNA sequencing to create new, biodegradable textiles. While the genetic code structure of DNA allows for the production of life, it also contains an inbuilt mechanism for self-destruction, an unravelling of the threads.
21
ROSEMARY HOUSEMIDAS 1990sGold and silver soft-annealed copper wire, dobby woven on 24 shaft electronic loomCourtesy of Central Saint Martins Museum and Study Collection
Made on a digital loom, the weaving contemplates affinities between weaving and data processing, epitomised by the Jacquard loom — the origin of modern computing. The coarse weave and the use of two colours evocate the grid- like structure often associated with binary code.
22
SARAH CRASKE WITH SIMON PARK AND CHARLOTTE SLEIGHBiological Hermeneutics2010Mixed MediaCourtesy the artist
Craske is interested in the biological metadata left by readers on a copy of Ovid’s Metamorphoses: sweat, epidermis and spores. While necessitating a partial destruction of the book, her analysis eventually allows a biological profiling of the object’s intricate history.
23
JEREMY WOOD15 Years of Mowing2015Giclee printCourtesy the artist
Over fifteen years, the artist recorded his movements with a GPS receiver while mowing his lawn. In his “GPS drawing”, Wood visualises this accumulation of geographic data from the past, the frequency of his movements denoted by the colour and density of the lines.
24
ALEXANDER BURGESSGulf II2015C-type photographic print on aluminium Courtesy the artist
Burgess’ work explores the frictions and fringes of satellite-based map making. The artist sifts through commercial online mapping services for liminal spaces, e.g. on the high sea, where actual photography borders a schematic placeholder: data meeting metadata, representation meeting noise.
25
RICHARD LONG (Poster produced by Stichting Van Gogh, Amsterdam)Sahara Circle 1990Signed poster after an original printCourtesy of Central Saint Martins Museum and Study Collection
Documenting an ephemeral arrangement in landscape, Long’s work reflects on the immediacy of our experience of nature. The photograph records the transient scene, at the same time aestheticising it through compositional interventions and formal correspondences between circle and landscape. The artist leaves open the share of chance in the process of finding/making this composition.
26
NORA AL-BADRI AND NIKOLAI NELLESDISENTANGLED NO.1Ditone print
The Other Nefertiti3D-printed model and film2017Courtesy of the artists
The artists claim to have scanned the ancient Egyptian bust of Nefertiti, one of the masterpieces in the Neues Museum, Berlin. They made the resulting data publicly available, enabling anyone to use it for their own purposes. It is used for a variety of works and performances by the artists, who also collect “remixes” made by others.
27
LAUREN JETTYSuspended AnimationHand-sewn cross stitch on aida cloth
The Ambassadors #2Hand-sewn cross stitch on aida cloth2015Courtesy of the artist
Jetty converts images of old-master paintings to stitched, quasi-pixelated canvases: digital aesthetic meets traditional technique. The compressed colour blocks in the stitching clearly suggest that the artist’s source data are not the actual paintings, but digital image files.
28
LOUISA MINKINHolbein Glitch2017Mixed mediaCourtesy the artist
Minkin employs computer programmes used by archaeologists to reconstruct sites in 3D on the basis of their photographic documentation. She fathoms their creative potential by uploading found data: e.g. various 2D representations of Holbein’s Ambassadors (1533, National Gallery, London) from the internet. The highly contingent products are geometrical forms and their skins from which she makes objects of varying nature, including metal and silk.
29
MATTHEW DARBYSHIRECaptcha No.42 — David2015Multiwall polycarbonate and stainless steelCourtesy of Herald Street Gallery
Matthew Darbyshire painted, cut and stacked layers of polycarbonate by hand, using a 3D printer blueprint of one of the most recognisable sculptures in art, Michelangelo’s David. Similar to the synonymous Captcha programme, his work aims to reassert the primacy of human input in an era of increasingly mechanised artistic processes.
30
“Griffin”Nineteenth centuryPlaster castCourtesy of Central Saint Martins Museum and Study Collection
Although catalogued as a “Griffin type creature”, this is a plaster cast of an ancient Greek lion sculpture from the Nereid monument in the British Museum. The wear and tear and graffiti are witness to the changing status of the once substantial plaster cast collections held at art schools.
EV
EN
TS
PAN
EL
DIS
CU
SS
ION
: Tec
hnol
ogie
s of
Rec
ordi
ng
Thu
11 J
an 2
018
5pm
, Let
haby
Gal
lery
Fr
ee. L
imite
d pl
aces
, ple
ase
arri
ve e
arly
Met
adat
a is
sto
red
in d
iffer
ent m
edia
thro
ugh
vari
ous
te
chno
logi
es o
f rec
ordi
ng. T
hese
hav
e, h
owev
er, c
hang
ed r
adic
ally
ov
er th
e la
st c
entu
ry, f
rom
cas
ting
and
phot
ogra
phy
to s
cann
ing
an
d 3D
pri
ntin
g. W
hat d
oes
this
dev
elop
men
t mea
n an
d ho
w do
es
it af
fect
the
work
ing
prac
tices
of b
oth
artis
ts a
nd r
esea
rche
rs?
PAN
EL
DIS
CU
SS
ION
: Met
hodo
logi
es o
f Des
crip
tion
Thu
18 J
an 2
018
5pm
, Let
haby
Gal
lery
Fr
ee. L
imite
d pl
aces
, ple
ase
arri
ve e
arly
How
is d
ata
affe
cted
by
the
cate
gori
es th
at a
re c
reat
ed to
st
ruct
ure
it? W
hat a
genc
y do
es, f
or e
xam
ple,
a c
atal
ogue
hav
e?
And
how
do a
cts
of s
yste
mat
isat
ion
of in
form
atio
n de
term
ine
pe
rcep
tions
of r
ealit
y? T
hese
que
stio
ns w
ill b
e ad
dres
sed
by
scho
lars
and
mus
eum
pro
fess
iona
ls w
orki
ng o
n en
cycl
opae
dism
, hi
stor
ies
of k
nowl
edge
and
the
cura
tion
of o
bjec
ts.
PAN
EL
DIS
CU
SS
ION
: Pra
ctic
es o
f Pro
duct
ion
Thu
25 J
an 2
018
5pm
, Let
haby
Gal
lery
Fr
ee. L
imite
d pl
aces
, ple
ase
arri
ve e
arly
The
acts
of c
opyi
ng, c
omm
entin
g an
d re
prod
ucin
g ha
ve a
lway
s
been
cen
tral
to a
rtis
tic p
ract
ice.
It h
as lo
ng b
een
esta
blis
hed
th
at th
ere
is “n
othi
ng o
rigi
nal u
nder
the
sun”
: met
adat
a an
d its
m
anip
ulat
ion
is a
t the
cor
e of
how
we
rela
te to
imag
es a
nd h
ow
imag
es r
elat
e to
us.
But
wha
t doe
s th
at m
ean
in th
e ev
eryd
ay
prac
tice
of a
rtis
tic p
rodu
ctio
n? T
his
pane
l dis
cuss
ion
will
brin
g
toge
ther
a s
elec
tion
of a
rtis
ts a
nd c
urat
ors
to th
ink
abou
t how
th
ese
issu
es in
form
thei
r wo
rk to
day.
PAN
EL
DIS
CU
SS
ION
: Pol
icie
s of
Own
ersh
ipS
at 3
Feb
201
82p
m, L
etha
by G
alle
ry
Free
. Lim
ited
plac
es, p
leas
e ar
rive
ear
ly
The
rapi
d ex
pans
ion
and
prol
ifera
tion
of d
igita
l tec
hnol
ogie
s le
d
to a
vas
t inc
reas
e in
the
amou
nt o
f dat
a be
ing
reco
rded
, sto
red
an
d br
oadc
ast.
Inev
itabl
y, c
ontr
ol a
nd o
wner
ship
of t
his
data
—
and
its
met
adat
a —
has
bec
ome
a m
uch-
deba
ted
topi
c in
po
litic
al a
nd e
cono
mic
, but
als
o cu
ltura
l are
nas,
rai
sing
ques
tions
co
ncer
ning
the
stat
us o
f cul
tura
l goo
ds a
nd m
useu
m c
olle
ctio
ns.
This
pan
el d
iscus
sion
brin
gs to
geth
er a
rtis
ts c
omm
entin
g on
thes
e
issu
es in
thei
r pr
actic
e as
wel
l as
mus
eum
pro
fess
iona
ls w
hose
co
llect
ions
are
the
obje
ct o
f the
se d
iscu
ssio
ns.
The International Research Project “Bilderfahrzeuge. Aby Warburg’s Legacy and the Future of Iconology”
Directors: Andreas Beyer (Project Speaker)Horst BredekampUwe FlecknerBill ShermanGerhard Wolf
Project Coordinator: Johannes von Müller
Project and Curatorial Assistant:Stuart Moss
Research Associates:Linda Baez-Rubi, Maria Teresa Costa Victor Claass, Philipp Ekardt, Hans Christian Hönes, Christopher Johnson, Eckart Marchand, Anna McSweeney, Pablo Schneider, Babette Schnitzlein, Elena Tolstichin, Isabella Woldt
Metadata: how we relate to images 10 Jan—3 Feb 2018 Lethaby Gallery, Central Saint Martins, University of the Arts, London
Curated by the International Research Project “Bilderfahrzeuge. Aby Warburg’s Legacy and the Future of Iconology”.
“Metadata: how we relate to images” is a collaboration between the International Research Project “Bilderfahrzeuge. Aby Warburg’s Legacy and the Future of Iconology” and Central Saint Martins, University of the Arts, London.
The International Research Project “Bilderfahrzeuge. Aby Warburg’s Legacy and the Future of Iconology” includes:
The curators would like to thank all the galleries and individuals who have generously lent and contributed to the exhibition:
Central Saint Martins, University of the Arts London:Mick Finch, Louisa Minkin, Judy Willcocks, Sarah Campbell, Laura McNamara, Craig Barnes
The British Museum: Jill Maggs, Katherine Coleman
NOME Gallery (Berlin):Luca Barbeni, Olga Boiocchi
Herald Street Gallery: Tom Bridge
The Warburg Institute Archive:Claudia Wedepohl
Publication and exhibition design:Kellenberger—White
Exhibition construction:Scena
The exhibition furniture has been produced with Solid Textile Board, a material made from upcycled textiles and designed with a circular economy in mind.
Publication printed by:Unicum I Gianotten Printed Media
ISBN 978 1 5272 1845 1
