Katrin Glinka Cultural Sciences & Digital Heritage

Katrin is a Research Associate at the Potsdam University of Applied Sciences. As a cultural scientist she has her focus on art, sociology, museums and digital cultural heritage.

Katrin is currently pursuing her PhD while working on the project “VIKUS” that focuses on the visualisation of cultural collections. She studied Kulturwissenschaften (Cultural Sciences) with an interest in art, visual culture, sociology and philosophy and holds a
M. A. degree from Leuphana University Lüneburg. In her M. A. thesis she analysed mechanisms of in- and exclusion in the art field and strategies of intervention.

She has worked at art institutions such as the Kunstverein Halle für Kunst Lüneburg e.V. and liaised with public museums, international companies and cultural foundations while working as project manager at an art marketing agency. Furthermore, she has worked for private collections and galleries and as a freelance writer and copy-editor for art related catalogues and texts. She was co-founder of a temporary project space for contemporary art exhibitions (UFO presents) and contributed as a curator to the overall programming as well as with own projects.

She has contributed to several research-based exhibitions and publications, amongst others „EDU TOOL BOX, Cross critique – towards a subjective university“ (Lüneburg, Halle für Kunst e.V., 2008) and „Dierk Schmidt. The Division of the Earth: Tableaux on the legal synopsis of the Berlin Africa conference“ (Köln, König, 2010).

 Since 2014 she has been working on her doctoral thesis, dealing with digitisation and visualisation in the cultural field and its means and potentials for curation, critical and interventionist approaches and visitor orientation in museums. 

Projects Contributions

Publications Published Works

Psychogeography in the Age of the Quantified Self—Mental Map Modelling with Georeferenced Personal Activity Data

  • Sebastian Meier
  • Katrin Glinka
— in: Michael P. Peterson (eds.). "Advances in Cartography and GIScience. Selections from the International Cartographic Conference" - Springer International Publishing, 2017

Personal and subjective perceptions of urban space have been a focus of various research projects in the area of cartography, geography, and related fields such as urban planning. This paper illustrates how personal georeferenced activity data can be used in algorithmic modelling of certain aspects of mental maps and custom- ised spatial visualisations. The technical implementation of the algorithm is accompanied by a preliminary study which evaluates the performance of the algorithm. As a linking element between per- sonal perception, interpretation, and depiction of space and the field of cartography and geography, we include perspectives from artistic practice and cultural theory. By developing novel visualisation concepts based on personal data, the paper in part mitigates the challenges presented by user modelling that is, amongst others, used in LBS applications.

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Past Visions and Reconciling Views: Visualizing Time, Texture and Themes in Cultural Collections

— DHQ: Digital Humanities Quarterly. 11:2, 2017

We present a case study on visualizing a collection of historic drawings along its metadata structure while also allowing for close examination of the artifacts’ texture. With regards to the specific character of cultural heritage at the intersection of research, education, and public interest, the presented visualization environment aims at meeting the requirements of both researchers as well as a broader public. We present the results from a collaborative interdisciplinary research project that involved a cultural heritage foundation, art historians, designers, and computer scientists. The case study examines the potential of visualization when applied to, and developed for, cultural heritage collections. It specifically explores how techniques aimed at visualizing the quantitative structure of a collection can be coupled with a more qualitative mode that allows for detailed examination of the artifacts and their contexts by displaying high-resolution views of digitized cultural objects with detailed art historical research findings. Making use of latest web technologies, the resulting visualization environment allows for dynamic filtering and zooming of a collection of visual resources that are arranged along a contextualized timeline. We share insights from our collaborative design process and the feedback and usage data gathered during the deployment of the resulting prototype as a web application. We end with a discussion of transferability of carefully crafted and collaboratively negotiated visualizations of cultural heritage and raise questions concerning the applicability of our approach to related strands of humanities research.

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Von sammlungsspezifischen Visualisierungen zu nachnutzbaren Werkzeugen

— in: Konferenzband zur DHd 2017 Bern - Digitale Nachhaltigkeit, 2017

Die Entwicklung digitaler Werkzeuge lässt sich als wichtiger Teilbereich in den Digital Humanities identifizieren (Davis und Kräutli 2015; Schnapp et al. 2009). Entsprechende Forschung und Projektarbeit steht dabei komplexen Herausforderungen gegenüber. Nicht nur die Frage nach verfügbaren Daten, methodologischer Fundierung und technologischer Umsetzbarkeit, sondern auch die Frage nach deren langfristigen Verfügbarmachung sind wiederkehrende Themen der letzten Jahre. Eine zentrale Rolle für die Sicherstellung von Qualität und Anwendbarkeit der digitalen Werkzeuge ist die Einbindung von Forscher_innen der jeweiligen geisteswissenschaftlichen Disziplinen im Entwicklungsprozess (Drucker 2013). Gleichzeitig lässt sich die zentrale Bedeutung von Interfacedesign, Nutzungsanleitungen und Benutzerfreundlichkeit als wichtige Faktoren für die Etablierung von digitalen Werkzeugen im Forschungsprozess feststellen (Gibbs und Owens 2012). Doch selbst wenn diese Herausforderungen bewältigt werden und ein digitales Werkzeug (erfolgreich) entwickelt wurde, stellt sich weiterhin die Frage, wie die langfristige Nachnutzung im Sinne einer digitalen Nachhaltigkeit sichergestellt werden kann. Am Beispiel des Entstehungsprozesses einer sammlungsspezifischen Visualisierung und deren Weiterentwicklung zu einem nachnutzbaren Werkzeug werden einige zentrale Aspekte der beeinflussenden Faktoren und Lösungsansätze vorgestellt. Unser Beitrag stellt sich somit der Frage, wie sichergestellt werden kann, dass digitale Tools auch über die Laufzeit von Förderprojekten hinaus (und unabhängig von spezifischen Use-cases) dauerhaft nutzbar und weiterentwickelbar sind.

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Linking structure, texture and context in a visualization of historical drawings by Frederick William IV (1795-1861)

— in: International Journal for Digital Art History; No 2, 2016

In this article we present a case study on digital representation of the art historical research and metadata brought together for a scientific collection catalogue by the Prussian Palaces and Gardens Foundation Berlin-Brandenburg. The resulting interface aims at linking the structure and texture of a collection of drawings by Frederick William IV of Prussia (1795–1861) with additional contextual information. The article describes the context of the larger research project and presents the resulting visualization and interaction techniques specifically designed for dynamic exploration along time and subjects.

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Museum im Display. Visualisierung kultureller Sammlungen (VIKUS)

— in: Konferenzband zur 22. Berliner Veranstaltung der internationalen EVA-Serie: Electronic Media and Visual Arts, 2015

Im Rückgriff auf Ausstellungspraktiken im Museum stellt der Artikel Bezüge zwischen Erkenntnissen aus der Visualisierungsforschung und der Rezeption von Museumssammlungen in einem Ausstellungsdisplay her. Besondere Beachtung finden hierbei Makro- und Mikroperspektiven auf Sammlungen und Darstellungen im (digitalen) Display eines Museums. Visualisierungen können einen offenen und explorativen Zugang zu den digitalisierten Beständen bieten, der eher den Ausstellungs- und Vermittlungsaktivitäten des Museums entspricht oder diese ergänzt. Dabei werden die Potenziale der digitalen Präsentation herausgearbeitet und Anhand von Use Cases aus der Forschung illustriert, welche Ansätze in der facettierten und „kuratierten“ Inszenierung von Sammlungen umgesetzt werden können.

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Visualising the »Un-seen«: Towards Critical Approaches and Strategies of Inclusion in Digital Cultural Heritage Interfaces

— in: KuI (Kultur und Informatik) Cross Media. Busch et al. (Hrsg.) Berlin, 2015

In recent years, access to cultural heritage has been closely connected to digitisation. We argue the case for recognising this digital shift as an opportunity to create interfaces to cultural heritage that are, first of all, more inviting to the public. Secondly, we want to encourage critical approaches towards the representation of cultural production and allow for alternative or even conflicting narratives and interpretations to surface. We present related work, use cases, and concepts for visualisations and interfaces that invite the reconsideration of modes of categorisation, presentation and clustering. Our intent is to develop ways to scrutinise modes of exclusion, carry out critical evaluations and pursue interventional strategies. We discuss the specific potential of visualisation, annotation and dynamic expansion of digital cultural collections. Building on critical approaches in human-computer interaction, visualisation and cultural theories, we explore how the interface could be a means of reflection, critique and inclusion.

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