I am passionate about culture and digital technologies. My expertise lies in bringing both areas together in a meaningful way. In recent years, I have especially worked on applying visualisation techniques to cultural data and on exploring innovative digital approaches to museum interpretation.
My work is guided by the conviction that digital technologies offer the potential to re-think and re-configure research and practices in the humanities and in cultural institutions, allow us to implement critical and interventionist approaches, and strengthen visitor orientation and accessibility in museums. I believe in the value of collaboration and enjoy working with colleagues from different disciplines, which regularly challenges me to explore new practices and methods. The strongest influences on my academic and applied work have come from fields such as design, human-centered computing, and critical cartography.
In my doctoral research, I examine differences and similarities between concepts, terminologies, and methods in computer science, art history, and museum practice. I analyse, among other things, the influence of machine learning methods on the cultural practice of collecting and documenting in museums. In November 2020, I joined the Human-Centered Computing Research Group at Freie Universität Berlin as head of the HCC Data Lab. As the scientific project lead for the project "museum4punkt0" (2017 - 2020) at the Stiftung Preußischer Kulturbesitz I developed and evaluated various digital applications for museums. Before that, I was a research associate at the Potsdam University of Applied Sciences where I continued to teach media and design theory until spring 2020.
Conception and establishment of an interdisciplinary research lab at the intersection between computer science, human-centred computing, the humanities and social sciences.
Programmatic, strategic, and scientific development of the overall project. Concept and development of digital applications for museums. Publication and lecture activities. Evaluation and reporting.
Courses on cultural theory, visualisation, and interface design for cultural institutions.
2014 - 2017 — Potsdam, Germany
Research Associate
,
Potsdam University of Applied Sciences
Research Associate at the »UCLAB« in the research project »VIKUS - Visualisation of Cultural Collections«. Visualisation research, digital humanities, digital art history, design theory. Conception and writing of research proposals, publication and lecture activities.
2014 - 2014 — Berlin, Germany
Self employed
,
freelance work (selection)
VISLAB: Co-Founder - research, website editing and development. WHITE RABBIT: editor online marketing. DREINULL: Production office assistant. Koenig & Clinton Gallery (NY): art fair production & sales at Art Cologne. beamAround: marketing consulting, consulting online presence.
Press work, initiating media partnerships, guided tours, social media communication, website & newsletter editing, collection database integration, print production (Maternity Leave Cover).
2012 - 2013 — Berlin, Germany
Self employed
,
freelance work (selection)
Gallery Leo Koenig (NY): Art fair production & sales at Art Cologne. Nowadays: coordinator production office, Hugo Boss Show. Gallery CRONE Berlin: art fair support at abc - art berlin contemporary. Gallery Kornfeld: Editor and co-translator of exhibition catalogue.
Press and public relations for exhibition project, print production and mailings, social media communication, project management, writing and coordination of grant applications, accounting, concept development for website, supervision of CMS implementation.
2011 - 2012 — Berlin, Germany
Project Management & Art Marketing Advisor
,
Art for Industry
Project management and event organisation. Consulting and mediation between corporate clients and public institutions. Implementation of marketing strategies in museum cooperations (e.g. with Hamburger Kunsthalle, Neue Nationalgalerie Berlin). Collection management, database management.
In: P. Kuroczynski, P. Bell, L. Dieckmann (Eds.). »Computing Art Reader. Einführung in die digitale Kunstgeschichte«. Heidelberg: arthistoricum.net, (Computing in Art and Architecture, Vol. 1).
2018 — Journal, peer-reviewed
Meier, S., Glinka, K.,
Data-driven Personal Cartographic Perspectives - An Overview Of Applied, Artistic, And Academic Visualization Projects For Egocentric Retrospective Analysis Of Personal Spatio-Temporal Behavior Cartograms
In: Michael P. Peterson (eds.). Advances in Cartography and GIScience. Selections from the International Cartographic Conference. Springer International Publishing - Advances in Cartography and GIScience. Best exhibit award.
Glinka, K., Iskin, S., Jaguttis, M., Möhre, H., Schmidt, D., Stankovic, S.,
Firmen in der Verantwortung für historisch begangene Verbrechen, das Beispiel Woermann/Deutsche Afrika-Linien
In: Arndt, Krümmel, Schmidt et al. (Eds.): Dierk Schmidt. The Division of the Earth - Tableaux on the Legal Synopses of the Berlin Afrika Conference. Köln: König.
2008 — Book/Catalogue
Glinka, K.,
Das Entstehen von Halbbildung vor dem Hintergrund der Ökonomisierung
In: Steinbrügge, B. (Ed.): EDU TOOL BOX, Cross critique - towards a subjective university. Lüneburg: Halle für Kunst.
4. Teaching
2020 — Workshop
Digitale Strategien für Kultureinrichtungen,
digiS - Forschungs- und Kompetenzzentrum Digitalisierung Berlin
2019 — Seminar
Was soll schon schiefgehen? Kulturtheorie als kritische Gegenwartsreflexion,
Potsdam University of Applied Sciences, Department of Design
2018 — Workshop
Promoting the Museum in the Digital Age,
ICOM - International Council of Museums, Capacity Building Programme at Qatar Museums
2018 — Seminar
Active Archives – Engaging Interfaces,
Potsdam University of Applied Sciences - in collaboration with HyperStudio at MIT (Massachusetts Institute of Technology)
2016 — Seminar
Die Regierung des kreativen Körpers und das erschöpfte Selbst,
Potsdam University of Applied Sciences, Department of Design