Critical-Reflective Human-AI Collaboration: Exploring Computational Tools for Art Historical Image Retrieval

Just as other disciplines, the humanities explore how computational research approaches and tools can meaningfully contribute to scholarly knowledge production. We approach the design of computational tools through the analytical lens of 'human-AI collaboration.' However, there is no generalizable concept of what constitutes 'meaningful' human-AI collaboration. In terms of genuinely human competencies, we consider criticality and reflection as guiding principles of scholarly knowledge production. Although (designing for) reflection is a recurring topic in CSCW and HCI discourses, it has not been centered in work on human-AI collaboration. We posit that integrating both concepts is a viable approach to supporting 'meaningful' human-AI collaboration in the humanities. Our research, thus, is guided by the question of how critical reflection can be enabled in human-AI collaboration. We address this question with a use case that centers on computer vision (CV) tools for art historical image retrieval. Specifically, we conducted a qualitative interview study with art historians and extended the interviews with a think-aloud software exploration. We observed and recorded our participants' interaction with a ready-to-use CV tool in a possible research scenario. We found that critical reflection, indeed, constitutes a core prerequisite for 'meaningful' human-AI collaboration in humanities research contexts. However, we observed that critical reflection was not fully realized during interaction with the CV tool. We interpret this divergence as supporting our hypothesis that computational tools need to be intentionally designed in such a way that they actively scaffold and support critical reflection during interaction. Based on our findings, we suggest four empirically grounded design implications for 'critical-reflective human-AI collaboration'

Museum im Display

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

Visualising the »Un-seen«

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

Linking Structure, Texture and Context in a Visualization of Historical Drawings by Frederick William IV (1795-1861)

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