Leonardo Impett
Biographic Data
| ID | 2366864 |
|---|---|
| NAME | Leonardo Impett |
| GIVEN NAMES | Leonardo |
| FAMILY NAME | Impett |
| SIGNATURE | IMPETT L |
| AFFILIATIONS | Durham University |
| ORCID | 0000-0003-1774-5175 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Understanding levels of online participation in the U.K. museum sector
COVID-19 has undeniably affected museums’ online content, yet attempts to identify or understand sector trends have been hampered by a lack of data. This paper uses a representative sample of 315 U.K. museums to create a much-needed benchmark against which museum practitioners can evaluate and contextualise prior studies and their own experiences. Gathering data from museum websites and five social media platforms, this paper is one of the larges…
Decoding early modern gestural patterns through hand networks
In this article, we present a new methodology and visualization system for Italian early modern painted hands. The goal is to outline potential gestural systems over a large corpus of study, in opposition to many art historical works focusing on a single hand gesture or on a specific painter. Furthermore, as most of the actual research in art history is dedicated to symbolic hands, the global approach aims to shed light on less documented hands, …
There Is a Digital Art History
In this paper, we revisit Johanna Drucker’s question, “Is there a digital art history?” – posed a decade ago in this journal – in the light of the emergence of large-scale, transformer-based vision models. While more traditional forms of neural network have long been part of digital art history, and digital humanities projects have recently begun to use transformer models, their epistemic implications and methodological affordances have not yet b…
Introduction
How do machines, and, in particular, computational technologies, change the way we see the world? This special issue brings together researchers from a wide range of disciplines to explore the entanglement of machines and their ways of seeing from new critical perspectives. As the title makes clear, we take our point of departure in John Berger's 1972 BBC documentary series Ways of Seeing, a four-part television series of 30-min films created by …
Prometheus Wired
Totentanz
Pivotal to Aby Warburg’s enigmatic Atlas Mnemosyne—which attempted to track morphological similarity from classical art down through the Renaissance—was the idea that there may be formulae for pathos. If so, what can quantitative analysis tell us about them
Understanding levels of online participation in the U.K. museum sector
COVID-19 has undeniably affected museums’ online content, yet attempts to identify or understand sector trends have been hampered by a lack of data. This paper uses a representative sample of 315 U.K. museums to create a much-needed benchmark against which museum practitioners can evaluate and contextualise prior studies and their own experiences. Gathering data from museum websites and five social media platforms, this paper is one of the larges…
Totentanz
Pivotal to Aby Warburg’s enigmatic Atlas Mnemosyne—which attempted to track morphological similarity from classical art down through the Renaissance—was the idea that there may be formulae for pathos. If so, what can quantitative analysis tell us about them
Prometheus Wired
Introduction
How do machines, and, in particular, computational technologies, change the way we see the world? This special issue brings together researchers from a wide range of disciplines to explore the entanglement of machines and their ways of seeing from new critical perspectives. As the title makes clear, we take our point of departure in John Berger's 1972 BBC documentary series Ways of Seeing, a four-part television series of 30-min films created by …
There Is a Digital Art History
In this paper, we revisit Johanna Drucker’s question, “Is there a digital art history?” – posed a decade ago in this journal – in the light of the emergence of large-scale, transformer-based vision models. While more traditional forms of neural network have long been part of digital art history, and digital humanities projects have recently begun to use transformer models, their epistemic implications and methodological affordances have not yet b…
Understanding levels of online participation in the U.K. museum sector
COVID-19 has undeniably affected museums’ online content, yet attempts to identify or understand sector trends have been hampered by a lack of data. This paper uses a representative sample of 315 U.K. museums to create a much-needed benchmark against which museum practitioners can evaluate and contextualise prior studies and their own experiences. Gathering data from museum websites and five social media platforms, this paper is one of the larges…
Decoding early modern gestural patterns through hand networks
In this article, we present a new methodology and visualization system for Italian early modern painted hands. The goal is to outline potential gestural systems over a large corpus of study, in opposition to many art historical works focusing on a single hand gesture or on a specific painter. Furthermore, as most of the actual research in art history is dedicated to symbolic hands, the global approach aims to shed light on less documented hands, …
Computer Science (3 works) · Art (2 works) · Cybernetics and Technology in Society (2 works) · Museums and Cultural Heritage (2 works) · Political science (2 works) · Action Observation and Synchronization (1 work) · Aesthetic Perception and Analysis (1 work) · Aesthetics (1 work) · Archaeology (1 work) · Art History and Market Analysis (1 work)