Kathryn Brown is a lecturer in art history and visual culture at Loughborough University, UK.

List of Figures; List of Table; List of Contributors; Introduction (Kathryn Brown); Part I: Histories and Critical Debates;1 Digital Methods and the Historiography of Art (Paul B. Jaskot); 2 Blind Spot: Information Visualization and Art History (Johanna Drucker); 3 The Digital Transformation of Art History (Harald Klinke); 4 Feminist Digital Art History (Kathryn Brown and Elspeth Mitchell); 5 Slow Digital Art History and KUbism: Or, Situation Awareness and the Promise of Open-World Games (Koenraad Brosens, Bruno Cardoso, and Fred Truyen); Part II: Archives, Networks, and Maps; 6 Tangled Metaphors: Network Thinking and Network Analysis in the History of Art (Matthew D. Lincoln); 7 Digital Humanities for a Spatial, Global, and Social History of Art (Béatrice Joyeux-Prunel); 8 Mapping Paintings, or How to Breathe Life Into Provenance (Jodi Cranston); 9 Qualitative Approaches to Network Analysis in Art History: Research on Contemporary Artists' Networks (Sanja Sekelj); 10 Mapping Senufo: Mapping as a Method to Transcend Colonial Assumptions (Susan Elizabeth Gagliardi); 11 X-Reception: Re-mediating Trans- Feminist and Queer Performance Art (T.L. Cowan); 12 Digital Methods and the Study of the Art Market (Pamela Fletcher and Anne Helmreich); 13 Noise Management in the Archival Ecosystem: Debating Principles for Classification (Anna Dot and Pablo Santa Olalla); Part III: Museums: Real, Virtual, and Augmented; 14 Digital Imaging Projects for Asian Art and Visual Culture: Transcultural Mediations and Collaborations (Katherine R. Tsiang); 15 A Field Guide to Digital Surrogates: Evaluating and Contextualizing a Rapidly Changing Resource (Emma Stanford); 16 A Service-Orientation and Open-Source Approach to Developing Virtual Museums (Martin White and Ben Jackson); 17 Art History, Heritage Games, and Virtual Reality (Erik Champion and Anna Foka); 18 Art With a Lifespan: Digital Technologies and the Preservation of BioArt (Christl Baur); 19 The Expanding Role of Digitized Collections: The Medici Archive (Alessio Assonitis); 20 Digital Languages for Art History: Audience Engagement, Virtual and Augmented Reality (Stefania De Vincentis and Luca Nicolò Vascon); Part IV: Computational Techniques for Analyzing Artworks; 21 Curation, Content, Creation: Computer Approaches to the Fine Arts (Javier de la Rosa and Juan-Luis Suárez); 22 Computerized Analysis of Paintings (James Z. Wang, Baris Kandemir, and Jia Li); 23 Digital 3D Modeling for the History of Art (Amy Jeffs); 24 Metadata, Material Culture, and Global Art History (Robert Wellington); 25 Image Processing and Computer Vision in the Field of Art History (Nuria Rodríguez-Ortega); 26 Pointers and Proxies: Thoughts on the Computational Modeling of the Phenomenal World (Alison Langmead and David Newbury); 27 Approaching Aby Warburg and Digital Art History: Thinking Through Images (Amanda Du Preez); 28 Analyzing Gesture in Digital Art History (Leonardo Impett); 29 Digital Techniques for the Study of Portuguese Azulejos (Glazed Tiles): Between Alice's White Rabbit and the Mad Tea Party (Rosário Salema de Carvalho, Rafaela Xavier, and Inês Leitão); Part V: Digital Resources, Publication, and Education;30 The Database of Modern Exhibitions (DoME): European Paintings and Drawings 1905-1915 (Christina Bartosch, Nirmalie Mulloli, Daniel Burckhardt, Marei Döhring, Walid Ahmad, and Raphael Rosenberg); 31 The Art-Historical Catalogue in the Digital Era (Anne Collins Goodyear); 32 Digital Provenance, Open Access, and Data-Driven Art History (Anne Luther); 33 Research, Process, Publication, and Pedagogy: Reconstructing the World's Columbian Exposition of 1893 (Lisa M. Snyder); 34 Social Media in the Art History Classroom (Lauren Jimerson and Allison Leigh); Index