Anna Bentkowska-Kafel is imaging officer for the Corpus of Romanesque Sculpture in Britain and Ireland at the Courtauld Institute of Art, London, United Kingdom. Trish Cashen is a member of the faculty of arts at the Open University, United Kingdom. Hazel Gardiner is senior project officer at the Centre for Computing in the Humanities, Kings College, London, United Kingdom.

"This collection is a worthy edition to any art history, digital art, or teaching practice collection." - Brett Aggersberg, The Higher Education Academy website "Futures Past clarifies part of what is at stake as the computer's effects continue to ripple through art and art-scholarship. This perspective alone justifies the book's exploration, but Futures Past goes beyond this mark raising questions that will occupy the philosophers of our fields and future historians for some time to come." - Kristina Luce, www.academici.com "The papers collected in this book are very interesting and worth pondering [... and] cover almost all possible angles on which we can imagine the relationships between Arts and Computers.[...] it is very much worth reading." - Bernardo Nicoletti, www.academici.com

• Part One: 'Experimental Interaction, Chapter 1: 'Painting Digital, Letting Go' - Page 5 - James Faure Walker Chapter 2: 'Microanalysis as a Means to Mediate Digital Arts' - Page 13 - Matthias Weiss Chapter 3: 'Indexed Lights' - Page 25 - Pierre R. Auborion Part Two: 'Educating with Computers, Chapter 4: 'A Computer in the Art Room' - Page 31 - Catherine Mason Chapter 5: 'Learning Resources for Teaching History of Art in Higher Education' - Page 43 - Jutta Vinaent Part Three: 'Projects and Archives: Histories and Resurgence, Chapter 6: 'Sourcing the Index: Iconography and it Debt to Photography' - Page 55 - Colum Hourihane Chapter 7: 'The Medium was the Method: Photography and Iconography at the Index of Christian Art' - Page 63 - Andrew E. Hershberger Chapter 8: 'The Good, The Bad and the Accessible: Thirty Years of Using New Technologies in BIAD Archives' - Page 77 - Sian Everitt Part Four: 'Online Information: Looking Back and Looking Forward, Chapter 9: 'Object Information at the Victoria and Albert Museum: Successes and Failures in Web Delivery' - Page 87 - Melanie Rowntree Chapter 10: 'This is the Modern World: Collaborating with ARTstor' - Page 103 - Vickie O'Riordan Chapter 11: 'Towards a Semantic Web: The Role of Ontologies in the Literary Domain' - Page 109 - Luciani Bordoni

Anna Bentkowska-Kafel is imaging officer for the Corpus of Romanesque Sculpture in Britain and Ireland at the Courtauld Institute of Art, London, United Kingdom. Trish Cashen is a member of the faculty of arts at the Open University, United Kingdom. Hazel Gardiner is senior project officer at the Centre for Computing in the Humanities, Kings College, London, United Kingdom.

"This collection is a worthy edition to any art history, digital art, or teaching practice collection." - Brett Aggersberg, The Higher Education Academy website "Futures Past clarifies part of what is at stake as the computer's effects continue to ripple through art and art-scholarship. This perspective alone justifies the book's exploration, but Futures Past goes beyond this mark raising questions that will occupy the philosophers of our fields and future historians for some time to come." - Kristina Luce, www.academici.com "The papers collected in this book are very interesting and worth pondering [... and] cover almost all possible angles on which we can imagine the relationships between Arts and Computers.[...] it is very much worth reading." - Bernardo Nicoletti, www.academici.com

• Part One: 'Experimental Interaction, Chapter 1: 'Painting Digital, Letting Go' - Page 5 - James Faure Walker Chapter 2: 'Microanalysis as a Means to Mediate Digital Arts' - Page 13 - Matthias Weiss Chapter 3: 'Indexed Lights' - Page 25 - Pierre R. Auborion Part Two: 'Educating with Computers, Chapter 4: 'A Computer in the Art Room' - Page 31 - Catherine Mason Chapter 5: 'Learning Resources for Teaching History of Art in Higher Education' - Page 43 - Jutta Vinaent Part Three: 'Projects and Archives: Histories and Resurgence, Chapter 6: 'Sourcing the Index: Iconography and it Debt to Photography' - Page 55 - Colum Hourihane Chapter 7: 'The Medium was the Method: Photography and Iconography at the Index of Christian Art' - Page 63 - Andrew E. Hershberger Chapter 8: 'The Good, The Bad and the Accessible: Thirty Years of Using New Technologies in BIAD Archives' - Page 77 - Sian Everitt Part Four: 'Online Information: Looking Back and Looking Forward, Chapter 9: 'Object Information at the Victoria and Albert Museum: Successes and Failures in Web Delivery' - Page 87 - Melanie Rowntree Chapter 10: 'This is the Modern World: Collaborating with ARTstor' - Page 103 - Vickie O'Riordan Chapter 11: 'Towards a Semantic Web: The Role of Ontologies in the Literary Domain' - Page 109 - Luciani Bordoni

Anna Bentkowska-Kafel is imaging officer for the Corpus of Romanesque Sculpture in Britain and Ireland at the Courtauld Institute of Art, London, United Kingdom. Trish Cashen is a member of the faculty of arts at the Open University, United Kingdom. Hazel Gardiner is senior project officer at the Centre for Computing in the Humanities, Kings College, London, United Kingdom.

"This collection is a worthy edition to any art history, digital art, or teaching practice collection." - Brett Aggersberg, The Higher Education Academy website "Futures Past clarifies part of what is at stake as the computer's effects continue to ripple through art and art-scholarship. This perspective alone justifies the book's exploration, but Futures Past goes beyond this mark raising questions that will occupy the philosophers of our fields and future historians for some time to come." - Kristina Luce, www.academici.com "The papers collected in this book are very interesting and worth pondering [... and] cover almost all possible angles on which we can imagine the relationships between Arts and Computers.[...] it is very much worth reading." - Bernardo Nicoletti, www.academici.com

• Part One: 'Experimental Interaction, Chapter 1: 'Painting Digital, Letting Go' - Page 5 - James Faure Walker Chapter 2: 'Microanalysis as a Means to Mediate Digital Arts' - Page 13 - Matthias Weiss Chapter 3: 'Indexed Lights' - Page 25 - Pierre R. Auborion Part Two: 'Educating with Computers, Chapter 4: 'A Computer in the Art Room' - Page 31 - Catherine Mason Chapter 5: 'Learning Resources for Teaching History of Art in Higher Education' - Page 43 - Jutta Vinaent Part Three: 'Projects and Archives: Histories and Resurgence, Chapter 6: 'Sourcing the Index: Iconography and it Debt to Photography' - Page 55 - Colum Hourihane Chapter 7: 'The Medium was the Method: Photography and Iconography at the Index of Christian Art' - Page 63 - Andrew E. Hershberger Chapter 8: 'The Good, The Bad and the Accessible: Thirty Years of Using New Technologies in BIAD Archives' - Page 77 - Sian Everitt Part Four: 'Online Information: Looking Back and Looking Forward, Chapter 9: 'Object Information at the Victoria and Albert Museum: Successes and Failures in Web Delivery' - Page 87 - Melanie Rowntree Chapter 10: 'This is the Modern World: Collaborating with ARTstor' - Page 103 - Vickie O'Riordan Chapter 11: 'Towards a Semantic Web: The Role of Ontologies in the Literary Domain' - Page 109 - Luciani Bordoni