https://wiki.digitalclassicist.org/api.php?action=feedcontributions&feedformat=atom&user=AnnaFoka 2026-07-28T06:42:12Z User contributions MediaWiki 1.41.1 https://wiki.digitalclassicist.org/index.php?title=Mekhane&diff=7718 2017-03-07T16:37:26Z

<p>AnnaFoka: /* Mekhane */</p> <hr /> <div><br /> == Mekhane ==<br /> <br /> <br /> www.mekhane.com<br /> <br /> Mekhane is the domain name for a digital map of visualizations about the ancient world. It focuses on gathering the following information about visualizations:<br /> Technological tools<br /> Purpose<br /> Ancient places<br /> Contemporary site of production<br /> Geographical density<br /> International impact<br /> <br /> It is, in short, a research and a study tool for visualizations of ancient sites, buildings and environments.<br /> Why?<br /> Technology has opened up new ways to communicate and discuss historical research, often through conceptual recreation. A widely used method is visualizations. These often provide the means to communicate history to a large(r) audience, in a situated space (cultural heritage exhibitions, museums, scholarly installations on display) or online. Visualisations have provided historical insight into aspects of urban development and have facilitated critical discussions of the application of digital tools within the context of museology, or the narratives of digital heritage. In traditional historical disciplines such as archaeology, history and classics, scholars have further used digital technologies to a map and relate detailed geographic data to primary sources in order to perceive larger societal patterns, and to visualise places geographically and chronologically remote (In the field of classics see: Mahony and Bodard, 2010: 1-14; Barker et all 2010 and 2012: 185-200). The ample use of web-mapping applications such as Google Earth have changed the ways in which scholars perceive data; the application of contemporary web-based methods towards visualisations and geospatial analysis challengesconventional concepts of space (see Dunn, 2010: 53-72).<br /> <br /> Mekhane assembles visualizations about antiquity in an accessible online map environment and offers researchers the possibility to study and compare these phenomena, their world-wide impact and the technologies that compose them. Scholars increasingly examine digital media as an important carrier of historical inquiry. Classical reception studies have addressed many of the complex ways in which antiquity is communicated to a wider audience; the precise analytical tools to discuss digital historical reconstructions have, however, escaped scholarly attention. For example, the archaeological aesthetic, presented as both the material remains and the processes involved in their discovery and analysis, constitutes a key tool for intellectual authority.<br /> <br /> How?<br /> Mekhane is a study of the scale and diversity of digital projects and tools for visualization that currently exist in both popular culture and within streams of academic knowledge production, such as research and education. The digital age may be defined as a historic break in the nature of media and representation and emphasizes the unprecedented capacities for visual manipulability. Although technology is recognised as permeating academia and the creative industries, scholars of classical reception have ignored how digital technology can mediate (aspects of) antiquity, with the exception of scant work on game studies as a form of (hi)story-telling. By contrast, we argue that digital technology operates as an extra layer of justification that affects our understanding of ancient world aesthetics, being in itself a component and a lens for classical reception.<br /> <br /> <br /> <br /> <br /> <br /> ​</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Mekhane&diff=7717 2017-03-07T16:37:14Z

<p>AnnaFoka: </p> <hr /> <div><br /> == Mekhane ==<br /> <br /> Mekhane is the domain name for a digital map of visualizations about the ancient world. It focuses on gathering the following information about visualizations:<br /> Technological tools<br /> Purpose<br /> Ancient places<br /> Contemporary site of production<br /> Geographical density<br /> International impact<br /> <br /> It is, in short, a research and a study tool for visualizations of ancient sites, buildings and environments.<br /> Why?<br /> Technology has opened up new ways to communicate and discuss historical research, often through conceptual recreation. A widely used method is visualizations. These often provide the means to communicate history to a large(r) audience, in a situated space (cultural heritage exhibitions, museums, scholarly installations on display) or online. Visualisations have provided historical insight into aspects of urban development and have facilitated critical discussions of the application of digital tools within the context of museology, or the narratives of digital heritage. In traditional historical disciplines such as archaeology, history and classics, scholars have further used digital technologies to a map and relate detailed geographic data to primary sources in order to perceive larger societal patterns, and to visualise places geographically and chronologically remote (In the field of classics see: Mahony and Bodard, 2010: 1-14; Barker et all 2010 and 2012: 185-200). The ample use of web-mapping applications such as Google Earth have changed the ways in which scholars perceive data; the application of contemporary web-based methods towards visualisations and geospatial analysis challengesconventional concepts of space (see Dunn, 2010: 53-72).<br /> <br /> Mekhane assembles visualizations about antiquity in an accessible online map environment and offers researchers the possibility to study and compare these phenomena, their world-wide impact and the technologies that compose them. Scholars increasingly examine digital media as an important carrier of historical inquiry. Classical reception studies have addressed many of the complex ways in which antiquity is communicated to a wider audience; the precise analytical tools to discuss digital historical reconstructions have, however, escaped scholarly attention. For example, the archaeological aesthetic, presented as both the material remains and the processes involved in their discovery and analysis, constitutes a key tool for intellectual authority.<br /> <br /> How?<br /> Mekhane is a study of the scale and diversity of digital projects and tools for visualization that currently exist in both popular culture and within streams of academic knowledge production, such as research and education. The digital age may be defined as a historic break in the nature of media and representation and emphasizes the unprecedented capacities for visual manipulability. Although technology is recognised as permeating academia and the creative industries, scholars of classical reception have ignored how digital technology can mediate (aspects of) antiquity, with the exception of scant work on game studies as a form of (hi)story-telling. By contrast, we argue that digital technology operates as an extra layer of justification that affects our understanding of ancient world aesthetics, being in itself a component and a lens for classical reception.<br /> <br /> <br /> <br /> <br /> <br /> ​</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Mekhane&diff=7714 2017-03-07T16:36:37Z

<p>AnnaFoka: Created page with &quot;Mekhane www.mekhane.com Mekhane in Ionic Greek means essentially contrivance, engine, 'machine'. Here it is used as the domain name for a digital map of visualizations abou...&quot;</p> <hr /> <div>Mekhane <br /> <br /> www.mekhane.com<br /> <br /> Mekhane in Ionic Greek means essentially contrivance, engine, 'machine'. Here it is used as the domain name for a digital map of visualizations about the ancient world. It focuses on gathering the following information about visualizations:<br /> Technological tools<br /> Purpose<br /> Ancient places<br /> Contemporary site of production<br /> Geographical density<br /> International impact<br /> <br /> It is, in short, a research and a study tool for visualizations of ancient sites, buildings and environments.<br /> Why?<br /> Technology has opened up new ways to communicate and discuss historical research, often through conceptual recreation. A widely used method is visualizations. These often provide the means to communicate history to a large(r) audience, in a situated space (cultural heritage exhibitions, museums, scholarly installations on display) or online. Visualisations have provided historical insight into aspects of urban development and have facilitated critical discussions of the application of digital tools within the context of museology, or the narratives of digital heritage. In traditional historical disciplines such as archaeology, history and classics, scholars have further used digital technologies to a map and relate detailed geographic data to primary sources in order to perceive larger societal patterns, and to visualise places geographically and chronologically remote (In the field of classics see: Mahony and Bodard, 2010: 1-14; Barker et all 2010 and 2012: 185-200). The ample use of web-mapping applications such as Google Earth have changed the ways in which scholars perceive data; the application of contemporary web-based methods towards visualisations and geospatial analysis challengesconventional concepts of space (see Dunn, 2010: 53-72).<br /> <br /> Mekhane assembles visualizations about antiquity in an accessible online map environment and offers researchers the possibility to study and compare these phenomena, their world-wide impact and the technologies that compose them. Scholars increasingly examine digital media as an important carrier of historical inquiry. Classical reception studies have addressed many of the complex ways in which antiquity is communicated to a wider audience; the precise analytical tools to discuss digital historical reconstructions have, however, escaped scholarly attention. For example, the archaeological aesthetic, presented as both the material remains and the processes involved in their discovery and analysis, constitutes a key tool for intellectual authority.<br /> <br /> How?<br /> Mekhane is a study of the scale and diversity of digital projects and tools for visualization that currently exist in both popular culture and within streams of academic knowledge production, such as research and education. The digital age may be defined as a historic break in the nature of media and representation and emphasizes the unprecedented capacities for visual manipulability. Although technology is recognised as permeating academia and the creative industries, scholars of classical reception have ignored how digital technology can mediate (aspects of) antiquity, with the exception of scant work on game studies as a form of (hi)story-telling. By contrast, we argue that digital technology operates as an extra layer of justification that affects our understanding of ancient world aesthetics, being in itself a component and a lens for classical reception.<br /> <br /> ​</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_Atlas_of_the_Roman_Empire&diff=6775 2016-05-31T15:50:09Z

<p>AnnaFoka: /* Digital Atlas of The Roman Empire */</p> <hr /> <div><br /> == Digital Atlas of The Roman Empire ==<br /> <br /> <br /> == Summary ==<br /> <br /> <br /> (Redirected from Pelagios Commons)<br /> <br /> Background<br /> The Barrington Atlas of the Greek and Roman World was published in 2000 as part of an international effort to create a comprehensive map and a directory of all ancient places mentioned in sources and a selection of important archaeological sites. Since then two digitization efforts based on the Barrington Atlas have come into being, Pleiades, which started off as a historical gazetteer,and the DARMC project, which is a layered historical atlas. In 2010-2011, as part of a common project, the geodata of DARMC was transferred to Pleiades, though, unfortunately, not all the places in the original Barrington directory could be matched between DARMC and Pleiades, resulting in many places without precise coordinates and feature data. Nonetheless, ever since, the Pleiades gazetteer has had the ability to display most ancient places on a map, individually and with their immediate surroundings, using Google Maps API and Google Maps as background layer. In March 2012 the Ancient World Mapping Center launched a first version of an online GIS application called Antiquity À-la-carte, covering the entire Greco-Roman World. This application is also based on the Barrington Atlas, on geodata from Pleiades/DARMC, and its own digitization efforts (roads, aqueducts, ancient coastlines).<br /> <br /> Yet, while the DARMC and Antiquity à la carte initiatives provide geographical coverage and exiting possibilites to compose custom maps in layers, until now there has been no digital map that can be used as background layer for use in a fashion similar to modern mapping applications like Google Maps. Thanks to Pelagios, this is work that I have undertaken, with a view to aiding any archaeological or historical research interested in or using online mapping. We are releasing the map with a CC-BY license, allowing anyone not only to browse and consult it but also to use it for representing their own data or to build on it their own applications, provided that they include a proper scholarly attribution. What is more, the map can be used with OpenLayers, Google and Bing maps, so that anybody, who already has these systems in place, can easily swap out the map tiles for these historical ones.<br /> <br /> <br /> == Website ==<br /> <br /> http://dare.ht.lu.se<br /> <br /> [[category:Institutions]]<br /> [[category:Geography]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_Atlas_of_the_Roman_Empire&diff=6774 2016-05-31T15:49:43Z

<p>AnnaFoka: /* Digital Atlas of The Roman Empire */</p> <hr /> <div><br /> == Digital Atlas of The Roman Empire ==<br /> <br /> <br /> About<br /> <br /> (Redirected from Pelagios Commons)<br /> <br /> Background<br /> The Barrington Atlas of the Greek and Roman World was published in 2000 as part of an international effort to create a comprehensive map and a directory of all ancient places mentioned in sources and a selection of important archaeological sites. Since then two digitization efforts based on the Barrington Atlas have come into being, Pleiades, which started off as a historical gazetteer,and the DARMC project, which is a layered historical atlas. In 2010-2011, as part of a common project, the geodata of DARMC was transferred to Pleiades, though, unfortunately, not all the places in the original Barrington directory could be matched between DARMC and Pleiades, resulting in many places without precise coordinates and feature data. Nonetheless, ever since, the Pleiades gazetteer has had the ability to display most ancient places on a map, individually and with their immediate surroundings, using Google Maps API and Google Maps as background layer. In March 2012 the Ancient World Mapping Center launched a first version of an online GIS application called Antiquity À-la-carte, covering the entire Greco-Roman World. This application is also based on the Barrington Atlas, on geodata from Pleiades/DARMC, and its own digitization efforts (roads, aqueducts, ancient coastlines).<br /> <br /> Yet, while the DARMC and Antiquity à la carte initiatives provide geographical coverage and exiting possibilites to compose custom maps in layers, until now there has been no digital map that can be used as background layer for use in a fashion similar to modern mapping applications like Google Maps. Thanks to Pelagios, this is work that I have undertaken, with a view to aiding any archaeological or historical research interested in or using online mapping. We are releasing the map with a CC-BY license, allowing anyone not only to browse and consult it but also to use it for representing their own data or to build on it their own applications, provided that they include a proper scholarly attribution. What is more, the map can be used with OpenLayers, Google and Bing maps, so that anybody, who already has these systems in place, can easily swap out the map tiles for these historical ones.<br /> <br /> <br /> <br /> <br /> Website<br /> http://dare.ht.lu.se<br /> <br /> [[category:Institutions]]<br /> [[category:Geography]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_Atlas_of_the_Roman_Empire&diff=6773 2016-05-31T15:48:10Z

<p>AnnaFoka: Created page with &quot; == Digital Atlas of The Roman Empire == Website http://dare.ht.lu.se category:Institutions category:Geography&quot;</p> <hr /> <div><br /> == Digital Atlas of The Roman Empire ==<br /> <br /> <br /> <br /> <br /> <br /> <br /> Website<br /> http://dare.ht.lu.se<br /> <br /> [[category:Institutions]]<br /> [[category:Geography]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Forma_Urbis_Romae&diff=6770 2016-05-31T15:42:50Z

<p>AnnaFoka: /* Summary */</p> <hr /> <div><br /> == Forma Urbis Romae ==<br /> <br /> <br /> <br /> == Summary ==<br /> <br /> <br /> Using GIS technology and accepted scholarly methods, this multi-disciplinary project intends to create a layered history of Rome by updating Forma Urbis Romae, the cartographic masterpiece of ancient Roman topography published in 1901 by archeologist Rodolfo Lanciani. This extremely accurate map measures 25 by 17 ft and uses an innovative graphic system that represents Rome’s historic urban fabric as a series of transparent layers from ancient to modern. The map remains the standard archeological reference for Rome even though it does not incorporate archeological discoveries uncovered since its original publication 100 years ago.<br /> <br /> The end result will highlight the continuity between ancient and modern and reveal how ancient buildings shape subsequent urban form. It will also show the evolution of the archaic city of the hills into the Renaissance city of the flood plain and then the merging of the two into modern urban form. While classicists would find recent scholarship of ancient Rome, anthropologists and urbanists would learn more about the physical transformations of a vibrant city. On the other hand geographers would witness the application of a new tool for describing and assessing the development of the largest city of the ancient world.<br /> <br /> <br /> [[category:Geography]]<br /> [[category:Institutions]]<br /> <br /> == Website ==<br /> <br /> <br /> https://web.stanford.edu/group/spatialhistory/cgi-bin/site/project.php?id=1063</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Forma_Urbis_Romae&diff=6762 2016-05-31T15:37:41Z

<p>AnnaFoka: </p> <hr /> <div><br /> == Forma Urbis Romae ==<br /> <br /> <br /> <br /> == Summary ==<br /> <br /> <br /> Using GIS technology and accepted scholarly methods, this multi-disciplinary project intends to create a layered history of Rome by updating Forma Urbis Romae, the cartographic masterpiece of ancient Roman topography published in 1901 by archeologist Rodolfo Lanciani. This extremely accurate map measures 25 by 17 ft and uses an innovative graphic system that represents Rome’s historic urban fabric as a series of transparent layers from ancient to modern. The map remains the standard archeological reference for Rome even though it does not incorporate archeological discoveries uncovered since its original publication 100 years ago.<br /> <br /> The end result will highlight the continuity between ancient and modern and reveal how ancient buildings shape subsequent urban form. It will also show the evolution of the archaic city of the hills into the Renaissance city of the flood plain and then the merging of the two into modern urban form. While classicists would find recent scholarship of ancient Rome, anthropologists and urbanists would learn more about the physical transformations of a vibrant city. On the other hand geographers would witness the application of a new tool for describing and assessing the development of the largest city of the ancient world. <br /> <br /> <br /> == Website ==<br /> <br /> <br /> https://web.stanford.edu/group/spatialhistory/cgi-bin/site/project.php?id=1063</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Forma_Urbis_Romae&diff=6759 2016-05-31T15:35:23Z

<p>AnnaFoka: </p> <hr /> <div>Forma Urbis Romae<br /> <br /> Using GIS technology and accepted scholarly methods, this multi-disciplinary project intends to create a layered history of Rome by updating Forma Urbis Romae, the cartographic masterpiece of ancient Roman topography published in 1901 by archeologist Rodolfo Lanciani. This extremely accurate map measures 25 by 17 ft and uses an innovative graphic system that represents Rome’s historic urban fabric as a series of transparent layers from ancient to modern. The map remains the standard archeological reference for Rome even though it does not incorporate archeological discoveries uncovered since its original publication 100 years ago.</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Forma_Urbis_Romae&diff=6758 2016-05-31T15:34:11Z

<p>AnnaFoka: Created page with &quot;Forma Urbis Romae&quot;</p> <hr /> <div>Forma Urbis Romae</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=6743 2016-05-31T15:15:42Z

<p>AnnaFoka: /* Open access Database */</p> <hr /> <div>=Digital Bread and Circuses (2013-2017)=<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> =Open access Database=<br /> (in collaboration with technical staff at HUMlab- in progress)<br /> • Deep Mapping Digital Antiquity (under construction to be launched in September 2017)<br /> <br /> A deep map, composed by layers, searchable by keywords and hosted by Humlab, Umeå University. The map is layered by a variety of data corresponding to sites on map and existing technological reconstructions (3D models etc post 1990s) inclusive of country of technological origin. The database is envisaged to appear in open access form providing unrestricted access to scholars and students online.<br /> <br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> * http://dha2014.org/wp-content/uploads/2014/03/DHA-2014-conference-full-proceedings.pdf<br /> <br /> ==Selected Bibliography==<br /> <br /> <br /> Foka, A., Arvidsson, V. (2016) ’Experiential Analogies: Sonic Digital Ekphrasis as a Digital Humanities Project’ ''Digital Humanities Quarterly'' 10:2<br /> <br /> Westin, J. Foka, A. Chapman, A. (2015) Challenge the Past, Diversify the Future: Proceedings of the International Conference, University of Gothenburg: Götenborg. <br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> Foka, A. (2014). (Digital) Bread and Circuses: Reframing Ancient Spectacle for Different Screens. In: Paul Arthur et al. (Ed.), Digital Humanities Australasia 2014: Expanding Horizons. Paper presented at Digital Humanities Australasia, 17-21 March 2014, UWA Campus, in Perth, WA.. Perth, Western Australia.<br /> <br /> <br /> <br /> <br /> <br /> <br /> [[category:archaeology]]<br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]<br /> [[category:multisensory approaches]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=6742 2016-05-31T15:15:00Z

<p>AnnaFoka: /* Open access Database */</p> <hr /> <div>=Digital Bread and Circuses (2013-2017)=<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> =Open access Database=<br /> (in collaboration with technical staff at HUMlab- in progress)<br /> • Deep Mapping Database: Post-Human Ancient entertainment (under construction to be launched in September 2017)<br /> <br /> A deep map, composed by layers, searchable by keywords and hosted by Humlab, Umeå University. The map is layered by a variety of data corresponding to sites on map and existing technological reconstructions (3D models etc post 1990s) inclusive of country of technological origin. The database is envisaged to appear in open access form providing unrestricted access to scholars and students online.<br /> <br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> * http://dha2014.org/wp-content/uploads/2014/03/DHA-2014-conference-full-proceedings.pdf<br /> <br /> ==Selected Bibliography==<br /> <br /> <br /> Foka, A., Arvidsson, V. (2016) ’Experiential Analogies: Sonic Digital Ekphrasis as a Digital Humanities Project’ ''Digital Humanities Quarterly'' 10:2<br /> <br /> Westin, J. Foka, A. Chapman, A. (2015) Challenge the Past, Diversify the Future: Proceedings of the International Conference, University of Gothenburg: Götenborg. <br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> Foka, A. (2014). (Digital) Bread and Circuses: Reframing Ancient Spectacle for Different Screens. In: Paul Arthur et al. (Ed.), Digital Humanities Australasia 2014: Expanding Horizons. Paper presented at Digital Humanities Australasia, 17-21 March 2014, UWA Campus, in Perth, WA.. Perth, Western Australia.<br /> <br /> <br /> <br /> <br /> <br /> <br /> [[category:archaeology]]<br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]<br /> [[category:multisensory approaches]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=6740 2016-05-31T15:12:57Z

<p>AnnaFoka: /* Selected Bibliography */</p> <hr /> <div>=Digital Bread and Circuses (2013-2017)=<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> =Open access Database=<br /> (in collaboration with technical staff at HUMlab- in progress)<br /> • Deep Mapping Database: Post-Human Ancient entertainment (under construction to be launched in September 2017)<br /> <br /> A deep map, composed by layers, searchable by keywords and hosted by Humlab, Umeå University. The map is layered by a variety of data corresponding to sites on map and existing technological reconstructions (3D models etc post 1990s) inclusive of country of technological origin. The database is envisaged to appear in open access form providing unrestricted access to scholars and students online.<br /> <br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> * http://dha2014.org/wp-content/uploads/2014/03/DHA-2014-conference-full-proceedings.pdf<br /> <br /> ==Selected Bibliography==<br /> <br /> <br /> Foka, A., Arvidsson, V. (2016) ’Experiential Analogies: Sonic Digital Ekphrasis as a Digital Humanities Project’ ''Digital Humanities Quarterly'' 10:2<br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> <br /> <br /> <br /> <br /> <br /> [[category:archaeology]]<br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]<br /> [[category:multisensory approaches]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=6536 2016-04-05T15:35:11Z

<p>AnnaFoka: /* Open access Database */</p> <hr /> <div>=Digital Bread and Circuses (2013-2017)=<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> =Open access Database=<br /> (in collaboration with technical staff at HUMlab- in progress)<br /> • Deep Mapping Database: Post-Human Ancient entertainment (under construction to be launched in September 2017)<br /> <br /> A deep map, composed by layers, searchable by keywords and hosted by Humlab, Umeå University. The map is layered by a variety of data corresponding to sites on map and existing technological reconstructions (3D models etc post 1990s) inclusive of country of technological origin. The database is envisaged to appear in open access form providing unrestricted access to scholars and students online.<br /> <br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> * http://dha2014.org/wp-content/uploads/2014/03/DHA-2014-conference-full-proceedings.pdf<br /> <br /> ==Selected Bibliography==<br /> <br /> Agre, P. 1997. Toward a Critical Technical Practice: Lessons Learned in Trying to Reform AI. In Beyond the Great Divide: Social Science, Technical systems, and Cooperative work, edited by. Bowker, G. C., Gasser, . L., Star, S. L. and Turner, W. Mahwah, NJ: Erlbaum: 131–58. <br /> <br /> Beacham, R. 2012. ‘Observations of Staging the Ludi Virtuales’, edited by Thorsen et al., Greek and Roman Games in the Computer Age, Trondheim: NTNU Press: 109-24.<br /> <br /> Betts, E. 2011. ‘Towards a Multisensory Experience of movement in the City of Rome’, Rome, Ostia and Pompeii: Movement and Space, edited by Laurence, R. and Newsome, D. Oxford: Oxford University Press: 118-32.<br /> <br /> Betts, E. 2013. ‘Cubrar Matrer: Goddess of the Picenes?’, in Whitehouse R. D. and Wilkins, J. B. (eds.) Accordia Research Papers 12, London: Accordia Research Institute, University of London.
<br /> <br /> Butler. S. and Purves, A. 2013. Synaesthesia and the Ancient Senses, Durham: Acumen. <br /> <br /> Chion, M. 1994. Audio-Vision: Sound on Screen. New York, NY: Columbia University Press. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, D. 2003. ‘Image-Based Techniques for Enhancing Virtual Reality Environments’, Proceedings in Arts and Cultural Heritage 2nd International Workshop on ICTs, Athens: Art Nouveau: 61-71. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2004. ‘The Ancient Olympic Games: Being Part of the Experience’, International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Athens: VAST: 19-28.<br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2005 ‘Virtual Reality Systems and Applications: The Ancient Olympic Games’, Proceedings of the 10th Panhellenic Conference on Informatics, Thessaly: University of Thessaly Press: 155-165.<br /> <br /> Classen, C. 1997. ‘Foundations for an Anthropology of the Senses’, International Social Science Journal 49 (153): 401–12.
<br /> <br /> Crary, J. 1988. ‘Modernizing Vision’, in Vision and Visuality, edited by Foster. H. Seattle: Bay Press: 29–44.<br /> Drobnick, J. 2006. ‘Introduction: Olfactocentrism’ in The Smell Culture Reader edited by Drobnick, J. Oxford: Berg: 1-9.<br /> <br /> Dewey, J. (1980) Art as Experience, New York: Perigee. <br /> <br /> Dunne, A. 2005. Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design, Cambridge, MA: MIT Press<br /> Dunn S. 2010. ‘Space as Artefact: A Perspective in Neogeography’, in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey: Ashgate: 53-72.
<br /> <br /> Favro, D. 1996. The Urban Image of Augustan Rome, Cambridge: Cambridge University Press.<br /> <br /> Favro, D. 2006. ‘In the Eyes of the Beholder: Virtual Reality Re-creations and Academia’, in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology: 321-34.<br /> <br /> Forte M. and Siliotti, A. 1997. Virtual Archaeology: Re-Creating Ancient Worlds, New York: HN Abrams. <br /> <br /> Forte, M. Campana, S. 2006. ‘From Space to Place’, Proceedings of the 2nd International Conference on Remote Sensing in Archaeology, BAR International Series 1568, Oxford: Archaeopress.<br /> <br /> Forte, M. (ed) 2010. Cyber Archaeology, BAR International<br /> Series 2177, Oxford: Archaeopress.<br /> <br /> Frischer, B., Abernathy, D., Giuliani, F. C., Scott, R. T., and Ziemssen, H. 2006. ‘A New Digital Model of the Roman Forum’ in in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology, 163-82.<br /> <br /> Gade, A. C. &amp; Angelakis, K. 2006. ‘Acoustics of ancient Greek and Roman theaters in use today' Acoustical Society of America. Journal vol 120, no. 5: 3148.<br /> <br /> Galloway, A. R. 2004. ‘Social Realism in Gaming’, Game Studies, New York.<br /> <br /> Giaccardi, G. et al 2012. Digital Heritage and Social Media, New York: Routledge. <br /> <br /> Gruen, E. 2011. Roman History: Early to Republic: Oxford Bibliographies Online Research Guide, Oxford: Oxford University Press. <br /> <br /> Harvey, S. A. 2006. Scenting Salvation; Ancient Christianity and the Olfactory Imagination, Berkeley, CA: University of California. <br /> <br /> Howes, D. 2005. Empire of the Senses: the Sensual Culture Reader, Oxford: Berg. <br /> <br /> Joyce, R. A. with Preucel, R.W. and Lopiparo, J. 2002. The Languages of Archaeology: Dialogue, Narrative and Writing. Oxford: Blackwell.<br /> <br /> Ihde, D. 2005. ‘Auditory Imagination’ in The Auditory Culture Reader edited by Bull, M. Back, L. Oxford: Berg: 61-66.<br /> <br /> Larmour, D. H. J. 2007. ‘Holes in the Body: Sites of Abjection in Juvenal’s Rome’ The Sites of Rome: Time, Space, Memory, edited by in Larmour, D. H. J. and Spencer, D. Oxford: Oxford University Press: 168-210.<br /> <br /> Latour, B. 1986. ‘Visualization and Cognition: Thinking with Eyes and Hands’, in Knowledge and Society: Studies in the Sociology of Culture Past and Present, edited by Kuklick, H. and Long, E. Vol. 6 Greenwich, CT and London: JAI Press: 1–40<br /> <br /> Latour, B. 1999. Pandora’s Hope: Essays on the Reality of Science Studies, Cambridge, MA: Harvard University Press.<br /> <br /> Lindhé, C. 2013. ‘A Visual Sense is Born in the Fingertips’: Towards a Digital Ekphrasis’ Digital Humanities Quarterly, 7(1): 376-82.<br /> <br /> Lyer, A. 2000. ‘Towards an Archaeology of Dance’ in Preservation Politics edited by Jordan, S. Dance Revived, Reconstructed, Remade, London: 141-5. <br /> <br /> Mahony, S. and Bodard, G. 2010. Digital Research in the Study of Classical Antiquity, Surrey: Ashgate. <br /> <br /> Mahony, S. and Bodard, G. 2010. ‘Introduction’ in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey Ashgate: 1-14. <br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> Shanks, M. 2004. ‘Three Rooms: Archaeology and Performance’, Journal of Social Archaeology 4(2): 147–80.<br /> <br /> Sengers, P., K. Boehner, S. David, and J. Kaye. 2005. ‘Reflective Design’. Proceedings of the 4th Decennial Conference on Critical Computing: Between Sense and Sensibility, Aarhus<br /> <br /> Thorsen, T. S. 2012. Greek and Roman Games in the Computer Age, Trondheim: NTNU Press.<br /> <br /> Toner, J. P. 2009. Popular Culture in Ancient Rome, Cambridge: Polity.<br /> <br /> Tuuri, K., Mustonen, M. &amp; Pirhonen, A. 2007. ‘Same Sound – Different Meanings: A Novel Scheme for Modes of listening’. In Proceedings of Audio Mostly 2007 Ilmenau, Germany: Fraunhofer Institute for Digital Media Technology IDMT. 13-18.<br /> <br /> Watson, A. and Keating, D. 1999. ‘Architecture and Sound: an Acoustic Analysis of Megalithic Monuments in Prehistoric Britain’. Antiquity 73: 325-36. <br /> <br /> Webb, R. 2002. ‘Female entertainments in Late Antiquity’, in Greek and Roman Actors, edited by Hall, E. and Easterling P., Cambridge: Cambridge University Press: 282-303. <br /> <br /> Webmoor, T. 2005. Social Software, Science Studies and Mediational Archaeology. Stanford, CA: Metamedia. <br /> <br /> Witmore, C.L. and Adler, J. 2004. New Media Transect: A Peripatetic Engagement with the Past. Stanford, CA: Metamedia.<br /> <br /> Witmore, C.L. 2004. ‘Four Archaeological Engagements with Place: Mediating Bodily Experience through Peripatetic Video’, Visual Anthropology Review 20(2): 57–71. <br /> <br /> Witmore, C.L. 2005. Multiple Field Approaches in the Mediterranean: Revisiting the Argolid Exploration Project. Stanford, CA: Metamedia. <br /> <br /> Witmore, C. L. 2006. ‘Vision, Media Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World’, Journal of Material Culture Vol. 11(3): 267–292<br /> <br /> <br /> [[category:archaeology]]<br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]<br /> [[category:multisensory approaches]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=6535 2016-04-05T15:34:35Z

<p>AnnaFoka: /* Digital Bread and Circuses (2013-2017) */</p> <hr /> <div>=Digital Bread and Circuses (2013-2017)=<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> =Open access Database=<br /> (in collaboration with technical staff at HUMlab- in progress)<br /> • Deep Mapping Database: Post-Human Ancient entertainment (under construction to be launched in September 2016: A deep map, composed by layers, searchable by keywords and hosted by Humlab, Umeå University. The map is layered by a variety of data corresponding to sites on map and existing technological reconstructions (3D models etc post 1990s) inclusive of country of technological origin. The database is envisaged to appear in open access form providing unrestricted access to scholars and students online.<br /> <br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> * http://dha2014.org/wp-content/uploads/2014/03/DHA-2014-conference-full-proceedings.pdf<br /> <br /> ==Selected Bibliography==<br /> <br /> Agre, P. 1997. Toward a Critical Technical Practice: Lessons Learned in Trying to Reform AI. In Beyond the Great Divide: Social Science, Technical systems, and Cooperative work, edited by. Bowker, G. C., Gasser, . L., Star, S. L. and Turner, W. Mahwah, NJ: Erlbaum: 131–58. <br /> <br /> Beacham, R. 2012. ‘Observations of Staging the Ludi Virtuales’, edited by Thorsen et al., Greek and Roman Games in the Computer Age, Trondheim: NTNU Press: 109-24.<br /> <br /> Betts, E. 2011. ‘Towards a Multisensory Experience of movement in the City of Rome’, Rome, Ostia and Pompeii: Movement and Space, edited by Laurence, R. and Newsome, D. Oxford: Oxford University Press: 118-32.<br /> <br /> Betts, E. 2013. ‘Cubrar Matrer: Goddess of the Picenes?’, in Whitehouse R. D. and Wilkins, J. B. (eds.) Accordia Research Papers 12, London: Accordia Research Institute, University of London.
<br /> <br /> Butler. S. and Purves, A. 2013. Synaesthesia and the Ancient Senses, Durham: Acumen. <br /> <br /> Chion, M. 1994. Audio-Vision: Sound on Screen. New York, NY: Columbia University Press. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, D. 2003. ‘Image-Based Techniques for Enhancing Virtual Reality Environments’, Proceedings in Arts and Cultural Heritage 2nd International Workshop on ICTs, Athens: Art Nouveau: 61-71. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2004. ‘The Ancient Olympic Games: Being Part of the Experience’, International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Athens: VAST: 19-28.<br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2005 ‘Virtual Reality Systems and Applications: The Ancient Olympic Games’, Proceedings of the 10th Panhellenic Conference on Informatics, Thessaly: University of Thessaly Press: 155-165.<br /> <br /> Classen, C. 1997. ‘Foundations for an Anthropology of the Senses’, International Social Science Journal 49 (153): 401–12.
<br /> <br /> Crary, J. 1988. ‘Modernizing Vision’, in Vision and Visuality, edited by Foster. H. Seattle: Bay Press: 29–44.<br /> Drobnick, J. 2006. ‘Introduction: Olfactocentrism’ in The Smell Culture Reader edited by Drobnick, J. Oxford: Berg: 1-9.<br /> <br /> Dewey, J. (1980) Art as Experience, New York: Perigee. <br /> <br /> Dunne, A. 2005. Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design, Cambridge, MA: MIT Press<br /> Dunn S. 2010. ‘Space as Artefact: A Perspective in Neogeography’, in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey: Ashgate: 53-72.
<br /> <br /> Favro, D. 1996. The Urban Image of Augustan Rome, Cambridge: Cambridge University Press.<br /> <br /> Favro, D. 2006. ‘In the Eyes of the Beholder: Virtual Reality Re-creations and Academia’, in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology: 321-34.<br /> <br /> Forte M. and Siliotti, A. 1997. Virtual Archaeology: Re-Creating Ancient Worlds, New York: HN Abrams. <br /> <br /> Forte, M. Campana, S. 2006. ‘From Space to Place’, Proceedings of the 2nd International Conference on Remote Sensing in Archaeology, BAR International Series 1568, Oxford: Archaeopress.<br /> <br /> Forte, M. (ed) 2010. Cyber Archaeology, BAR International<br /> Series 2177, Oxford: Archaeopress.<br /> <br /> Frischer, B., Abernathy, D., Giuliani, F. C., Scott, R. T., and Ziemssen, H. 2006. ‘A New Digital Model of the Roman Forum’ in in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology, 163-82.<br /> <br /> Gade, A. C. &amp; Angelakis, K. 2006. ‘Acoustics of ancient Greek and Roman theaters in use today' Acoustical Society of America. Journal vol 120, no. 5: 3148.<br /> <br /> Galloway, A. R. 2004. ‘Social Realism in Gaming’, Game Studies, New York.<br /> <br /> Giaccardi, G. et al 2012. Digital Heritage and Social Media, New York: Routledge. <br /> <br /> Gruen, E. 2011. Roman History: Early to Republic: Oxford Bibliographies Online Research Guide, Oxford: Oxford University Press. <br /> <br /> Harvey, S. A. 2006. Scenting Salvation; Ancient Christianity and the Olfactory Imagination, Berkeley, CA: University of California. <br /> <br /> Howes, D. 2005. Empire of the Senses: the Sensual Culture Reader, Oxford: Berg. <br /> <br /> Joyce, R. A. with Preucel, R.W. and Lopiparo, J. 2002. The Languages of Archaeology: Dialogue, Narrative and Writing. Oxford: Blackwell.<br /> <br /> Ihde, D. 2005. ‘Auditory Imagination’ in The Auditory Culture Reader edited by Bull, M. Back, L. Oxford: Berg: 61-66.<br /> <br /> Larmour, D. H. J. 2007. ‘Holes in the Body: Sites of Abjection in Juvenal’s Rome’ The Sites of Rome: Time, Space, Memory, edited by in Larmour, D. H. J. and Spencer, D. Oxford: Oxford University Press: 168-210.<br /> <br /> Latour, B. 1986. ‘Visualization and Cognition: Thinking with Eyes and Hands’, in Knowledge and Society: Studies in the Sociology of Culture Past and Present, edited by Kuklick, H. and Long, E. Vol. 6 Greenwich, CT and London: JAI Press: 1–40<br /> <br /> Latour, B. 1999. Pandora’s Hope: Essays on the Reality of Science Studies, Cambridge, MA: Harvard University Press.<br /> <br /> Lindhé, C. 2013. ‘A Visual Sense is Born in the Fingertips’: Towards a Digital Ekphrasis’ Digital Humanities Quarterly, 7(1): 376-82.<br /> <br /> Lyer, A. 2000. ‘Towards an Archaeology of Dance’ in Preservation Politics edited by Jordan, S. Dance Revived, Reconstructed, Remade, London: 141-5. <br /> <br /> Mahony, S. and Bodard, G. 2010. Digital Research in the Study of Classical Antiquity, Surrey: Ashgate. <br /> <br /> Mahony, S. and Bodard, G. 2010. ‘Introduction’ in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey Ashgate: 1-14. <br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> Shanks, M. 2004. ‘Three Rooms: Archaeology and Performance’, Journal of Social Archaeology 4(2): 147–80.<br /> <br /> Sengers, P., K. Boehner, S. David, and J. Kaye. 2005. ‘Reflective Design’. Proceedings of the 4th Decennial Conference on Critical Computing: Between Sense and Sensibility, Aarhus<br /> <br /> Thorsen, T. S. 2012. Greek and Roman Games in the Computer Age, Trondheim: NTNU Press.<br /> <br /> Toner, J. P. 2009. Popular Culture in Ancient Rome, Cambridge: Polity.<br /> <br /> Tuuri, K., Mustonen, M. &amp; Pirhonen, A. 2007. ‘Same Sound – Different Meanings: A Novel Scheme for Modes of listening’. In Proceedings of Audio Mostly 2007 Ilmenau, Germany: Fraunhofer Institute for Digital Media Technology IDMT. 13-18.<br /> <br /> Watson, A. and Keating, D. 1999. ‘Architecture and Sound: an Acoustic Analysis of Megalithic Monuments in Prehistoric Britain’. Antiquity 73: 325-36. <br /> <br /> Webb, R. 2002. ‘Female entertainments in Late Antiquity’, in Greek and Roman Actors, edited by Hall, E. and Easterling P., Cambridge: Cambridge University Press: 282-303. <br /> <br /> Webmoor, T. 2005. Social Software, Science Studies and Mediational Archaeology. Stanford, CA: Metamedia. <br /> <br /> Witmore, C.L. and Adler, J. 2004. New Media Transect: A Peripatetic Engagement with the Past. Stanford, CA: Metamedia.<br /> <br /> Witmore, C.L. 2004. ‘Four Archaeological Engagements with Place: Mediating Bodily Experience through Peripatetic Video’, Visual Anthropology Review 20(2): 57–71. <br /> <br /> Witmore, C.L. 2005. Multiple Field Approaches in the Mediterranean: Revisiting the Argolid Exploration Project. Stanford, CA: Metamedia. <br /> <br /> Witmore, C. L. 2006. ‘Vision, Media Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World’, Journal of Material Culture Vol. 11(3): 267–292<br /> <br /> <br /> [[category:archaeology]]<br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]<br /> [[category:multisensory approaches]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=6534 2016-04-05T15:33:58Z

<p>AnnaFoka: /* Digital Bread and Circuses (2013-2017) */</p> <hr /> <div>=Digital Bread and Circuses (2013-2017)=<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> Open access computer programs or databases <br /> (in collaboration with technical staff at HUMlab- in progress)<br /> • Deep Mapping Database: Post-Human Ancient entertainment (under construction to be launched in September 2016: A deep map, composed by layers, searchable by keywords and hosted by Humlab, Umeå University. The map is layered by a variety of data corresponding to sites on map and existing technological reconstructions (3D models etc post 1990s) inclusive of country of technological origin. The database is envisaged to appear in open access form providing unrestricted access to scholars and students online.<br /> <br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> * http://dha2014.org/wp-content/uploads/2014/03/DHA-2014-conference-full-proceedings.pdf<br /> <br /> ==Selected Bibliography==<br /> <br /> Agre, P. 1997. Toward a Critical Technical Practice: Lessons Learned in Trying to Reform AI. In Beyond the Great Divide: Social Science, Technical systems, and Cooperative work, edited by. Bowker, G. C., Gasser, . L., Star, S. L. and Turner, W. Mahwah, NJ: Erlbaum: 131–58. <br /> <br /> Beacham, R. 2012. ‘Observations of Staging the Ludi Virtuales’, edited by Thorsen et al., Greek and Roman Games in the Computer Age, Trondheim: NTNU Press: 109-24.<br /> <br /> Betts, E. 2011. ‘Towards a Multisensory Experience of movement in the City of Rome’, Rome, Ostia and Pompeii: Movement and Space, edited by Laurence, R. and Newsome, D. Oxford: Oxford University Press: 118-32.<br /> <br /> Betts, E. 2013. ‘Cubrar Matrer: Goddess of the Picenes?’, in Whitehouse R. D. and Wilkins, J. B. (eds.) Accordia Research Papers 12, London: Accordia Research Institute, University of London.
<br /> <br /> Butler. S. and Purves, A. 2013. Synaesthesia and the Ancient Senses, Durham: Acumen. <br /> <br /> Chion, M. 1994. Audio-Vision: Sound on Screen. New York, NY: Columbia University Press. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, D. 2003. ‘Image-Based Techniques for Enhancing Virtual Reality Environments’, Proceedings in Arts and Cultural Heritage 2nd International Workshop on ICTs, Athens: Art Nouveau: 61-71. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2004. ‘The Ancient Olympic Games: Being Part of the Experience’, International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Athens: VAST: 19-28.<br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2005 ‘Virtual Reality Systems and Applications: The Ancient Olympic Games’, Proceedings of the 10th Panhellenic Conference on Informatics, Thessaly: University of Thessaly Press: 155-165.<br /> <br /> Classen, C. 1997. ‘Foundations for an Anthropology of the Senses’, International Social Science Journal 49 (153): 401–12.
<br /> <br /> Crary, J. 1988. ‘Modernizing Vision’, in Vision and Visuality, edited by Foster. H. Seattle: Bay Press: 29–44.<br /> Drobnick, J. 2006. ‘Introduction: Olfactocentrism’ in The Smell Culture Reader edited by Drobnick, J. Oxford: Berg: 1-9.<br /> <br /> Dewey, J. (1980) Art as Experience, New York: Perigee. <br /> <br /> Dunne, A. 2005. Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design, Cambridge, MA: MIT Press<br /> Dunn S. 2010. ‘Space as Artefact: A Perspective in Neogeography’, in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey: Ashgate: 53-72.
<br /> <br /> Favro, D. 1996. The Urban Image of Augustan Rome, Cambridge: Cambridge University Press.<br /> <br /> Favro, D. 2006. ‘In the Eyes of the Beholder: Virtual Reality Re-creations and Academia’, in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology: 321-34.<br /> <br /> Forte M. and Siliotti, A. 1997. Virtual Archaeology: Re-Creating Ancient Worlds, New York: HN Abrams. <br /> <br /> Forte, M. Campana, S. 2006. ‘From Space to Place’, Proceedings of the 2nd International Conference on Remote Sensing in Archaeology, BAR International Series 1568, Oxford: Archaeopress.<br /> <br /> Forte, M. (ed) 2010. Cyber Archaeology, BAR International<br /> Series 2177, Oxford: Archaeopress.<br /> <br /> Frischer, B., Abernathy, D., Giuliani, F. C., Scott, R. T., and Ziemssen, H. 2006. ‘A New Digital Model of the Roman Forum’ in in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology, 163-82.<br /> <br /> Gade, A. C. &amp; Angelakis, K. 2006. ‘Acoustics of ancient Greek and Roman theaters in use today' Acoustical Society of America. Journal vol 120, no. 5: 3148.<br /> <br /> Galloway, A. R. 2004. ‘Social Realism in Gaming’, Game Studies, New York.<br /> <br /> Giaccardi, G. et al 2012. Digital Heritage and Social Media, New York: Routledge. <br /> <br /> Gruen, E. 2011. Roman History: Early to Republic: Oxford Bibliographies Online Research Guide, Oxford: Oxford University Press. <br /> <br /> Harvey, S. A. 2006. Scenting Salvation; Ancient Christianity and the Olfactory Imagination, Berkeley, CA: University of California. <br /> <br /> Howes, D. 2005. Empire of the Senses: the Sensual Culture Reader, Oxford: Berg. <br /> <br /> Joyce, R. A. with Preucel, R.W. and Lopiparo, J. 2002. The Languages of Archaeology: Dialogue, Narrative and Writing. Oxford: Blackwell.<br /> <br /> Ihde, D. 2005. ‘Auditory Imagination’ in The Auditory Culture Reader edited by Bull, M. Back, L. Oxford: Berg: 61-66.<br /> <br /> Larmour, D. H. J. 2007. ‘Holes in the Body: Sites of Abjection in Juvenal’s Rome’ The Sites of Rome: Time, Space, Memory, edited by in Larmour, D. H. J. and Spencer, D. Oxford: Oxford University Press: 168-210.<br /> <br /> Latour, B. 1986. ‘Visualization and Cognition: Thinking with Eyes and Hands’, in Knowledge and Society: Studies in the Sociology of Culture Past and Present, edited by Kuklick, H. and Long, E. Vol. 6 Greenwich, CT and London: JAI Press: 1–40<br /> <br /> Latour, B. 1999. Pandora’s Hope: Essays on the Reality of Science Studies, Cambridge, MA: Harvard University Press.<br /> <br /> Lindhé, C. 2013. ‘A Visual Sense is Born in the Fingertips’: Towards a Digital Ekphrasis’ Digital Humanities Quarterly, 7(1): 376-82.<br /> <br /> Lyer, A. 2000. ‘Towards an Archaeology of Dance’ in Preservation Politics edited by Jordan, S. Dance Revived, Reconstructed, Remade, London: 141-5. <br /> <br /> Mahony, S. and Bodard, G. 2010. Digital Research in the Study of Classical Antiquity, Surrey: Ashgate. <br /> <br /> Mahony, S. and Bodard, G. 2010. ‘Introduction’ in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey Ashgate: 1-14. <br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> Shanks, M. 2004. ‘Three Rooms: Archaeology and Performance’, Journal of Social Archaeology 4(2): 147–80.<br /> <br /> Sengers, P., K. Boehner, S. David, and J. Kaye. 2005. ‘Reflective Design’. Proceedings of the 4th Decennial Conference on Critical Computing: Between Sense and Sensibility, Aarhus<br /> <br /> Thorsen, T. S. 2012. Greek and Roman Games in the Computer Age, Trondheim: NTNU Press.<br /> <br /> Toner, J. P. 2009. Popular Culture in Ancient Rome, Cambridge: Polity.<br /> <br /> Tuuri, K., Mustonen, M. &amp; Pirhonen, A. 2007. ‘Same Sound – Different Meanings: A Novel Scheme for Modes of listening’. In Proceedings of Audio Mostly 2007 Ilmenau, Germany: Fraunhofer Institute for Digital Media Technology IDMT. 13-18.<br /> <br /> Watson, A. and Keating, D. 1999. ‘Architecture and Sound: an Acoustic Analysis of Megalithic Monuments in Prehistoric Britain’. Antiquity 73: 325-36. <br /> <br /> Webb, R. 2002. ‘Female entertainments in Late Antiquity’, in Greek and Roman Actors, edited by Hall, E. and Easterling P., Cambridge: Cambridge University Press: 282-303. <br /> <br /> Webmoor, T. 2005. Social Software, Science Studies and Mediational Archaeology. Stanford, CA: Metamedia. <br /> <br /> Witmore, C.L. and Adler, J. 2004. New Media Transect: A Peripatetic Engagement with the Past. Stanford, CA: Metamedia.<br /> <br /> Witmore, C.L. 2004. ‘Four Archaeological Engagements with Place: Mediating Bodily Experience through Peripatetic Video’, Visual Anthropology Review 20(2): 57–71. <br /> <br /> Witmore, C.L. 2005. Multiple Field Approaches in the Mediterranean: Revisiting the Argolid Exploration Project. Stanford, CA: Metamedia. <br /> <br /> Witmore, C. L. 2006. ‘Vision, Media Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World’, Journal of Material Culture Vol. 11(3): 267–292<br /> <br /> <br /> [[category:archaeology]]<br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]<br /> [[category:multisensory approaches]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=User:AnnaFoka&diff=6533 2016-04-05T15:19:37Z

<p>AnnaFoka: /* Bio */</p> <hr /> <div><br /> == Bio ==<br /> Anna Foka is an Associate Senior Lecturer at HUMlab, Umeå University, Sweden.<br /> She defended her PhD thesis in ancient Greek comedy and the construction of Greek identity in extant texts and fragments (Liverpool 2010). She holds an MA in Classics and Ancient History (Liverpool 2006), and a 4-year MA degree in Theatre and Performance Studies (NCU Athens 2003). Prior to her current position, she held a post-doctoral research fellowship at the Umeå Centre for Gender Studies (UCGS) in collaboration with the school of Histories and Cultures (Umeå University). She has previously held lecturing positions in several institutions in the UK (Manchester and Liverpool University). <br /> <br /> Her broad research interests include cultural and social history, history for different frames, constructions and perceptions of socio- cultural identities, historical concepts of gender and sexuality, and the relationship between historical culture(s) and contemporaneity. She has published in the fields of gender and humour in Graeco-Roman culture, the reception of antiquity in popular culture, and methodologies for digital history including the study of visualisations, gamification and creative environments. <br /> <br /> Anna Foka is the co-founder (alongside Viktor Arvidsson) of the international research network Digital Gender that is funded by Riksbankens Jubileumsfond. She is also a member of the Digital Classicist community, actively involved in the Digital Classicist Wiki Sprint (2014- beyond) and undertaking several tasks including correcting web pages, suggesting new projects, adding pages to the Wiki, helping others with information and background, approaching project leaders to suggest adding or improving information. Anna is also a member of the Umeå Group for Premodern Studies, organizing the group’s outreach activities for 2014, including public talks in the context of Umeå as a European capital of culture. <br /> <br /> <br /> For her current project, Digital Bread and Circuses (part of 2013-2017) Anna Foka is constructing conceptual digital prototypes of the Roman amphitheatre and Greek theatre. The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). Prototypes target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity.<br /> <br /> == Websites ==<br /> <br /> * Institutional Website: <br /> http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> *Personal Website: <br /> http://www.annafoka.com/</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=User:AnnaFoka&diff=6532 2016-04-05T15:18:40Z

<p>AnnaFoka: /* Bio */</p> <hr /> <div><br /> == Bio ==<br /> Anna Foka is an Associate Senior Lecturer at HUMlab, Umeå University, Sweden.<br /> She defended her PhD thesis in ancient Greek comedy and the construction of Greek identity in extant texts and fragments (Liverpool 2010). She holds an MA in Classics and Ancient History (Liverpool 2006), and a 4-year MA degree in Theatre and Performance Studies (NCU Athens 2003). Prior to her current position, she held a post-doctoral research fellowship at the Umeå Centre for Gender Studies (UCGS) in collaboration with the school of Histories and Cultures (Umeå University). She has previously held lecturing positions in several institutions in the UK (Manchester and Liverpool University). <br /> <br /> Her broad research interests include cultural and social history, history for different frames, constructions and perceptions of socio- cultural identities, historical concepts of gender and sexuality, and the relationship between historical culture(s) and contemporaneity. She has published in the fields of gender and humour in Graeco-Roman culture, the reception of antiquity in popular culture, and digital history. <br /> <br /> Anna Foka is the co-founder (alongside Viktor Arvidsson) of the international research network Digital Gender that is funded by Riksbankens Jubileumsfond. She is also a member of the Digital Classicist community, actively involved in the Digital Classicist Wiki Sprint (2014- beyond) and undertaking several tasks including correcting web pages, suggesting new projects, adding pages to the Wiki, helping others with information and background, approaching project leaders to suggest adding or improving information. Anna is also a member of the Umeå Group for Premodern Studies, organizing the group’s outreach activities for 2014, including public talks in the context of Umeå as a European capital of culture. <br /> <br /> <br /> For her current project, Digital Bread and Circuses (part of 2013-2017) Anna Foka is constructing conceptual digital prototypes of the Roman amphitheatre and Greek theatre. The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity.<br /> <br /> == Websites ==<br /> <br /> * Institutional Website: <br /> http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> *Personal Website: <br /> http://www.annafoka.com/</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=5273 2014-11-26T12:07:53Z

<p>AnnaFoka: /* Selected Bibliography */</p> <hr /> <div>==Digital Bread and Circuses (2013-2017)==<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> <br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> <br /> * http://dha2014.org/wp-content/uploads/2014/03/DHA-2014-conference-full-proceedings.pdf<br /> <br /> ==Selected Bibliography==<br /> <br /> <br /> Agre, P. 1997. Toward a Critical Technical Practice: Lessons Learned in Trying to Reform AI. In Beyond the Great Divide: Social Science, Technical systems, and Cooperative work, edited by. Bowker, G. C., Gasser, . L., Star, S. L. and Turner, W. Mahwah, NJ: Erlbaum: 131–58. <br /> <br /> Beacham, R. 2012. ‘Observations of Staging the Ludi Virtuales’, edited by Thorsen et al., Greek and Roman Games in the Computer Age, Trondheim: NTNU Press: 109-24.<br /> <br /> Betts, E. 2011. ‘Towards a Multisensory Experience of movement in the City of Rome’, Rome, Ostia and Pompeii: Movement and Space, edited by Laurence, R. and Newsome, D. Oxford: Oxford University Press: 118-32.<br /> <br /> Betts, E. 2013. ‘Cubrar Matrer: Goddess of the Picenes?’, in Whitehouse R. D. and Wilkins, J. B. (eds.) Accordia Research Papers 12, London: Accordia Research Institute, University of London.
<br /> <br /> Butler. S. and Purves, A. 2013. Synaesthesia and the Ancient Senses, Durham: Acumen. <br /> <br /> Chion, M. 1994. Audio-Vision: Sound on Screen. New York, NY: Columbia University Press. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, D. 2003. ‘Image-Based Techniques for Enhancing Virtual Reality Environments’, Proceedings in Arts and Cultural Heritage 2nd International Workshop on ICTs, Athens: Art Nouveau: 61-71. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2004. ‘The Ancient Olympic Games: Being Part of the Experience’, International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Athens: VAST: 19-28.<br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2005 ‘Virtual Reality Systems and Applications: The Ancient Olympic Games’, Proceedings of the 10th Panhellenic Conference on Informatics, Thessaly: University of Thessaly Press: 155-165.<br /> <br /> Classen, C. 1997. ‘Foundations for an Anthropology of the Senses’, International Social Science Journal 49 (153): 401–12.
<br /> <br /> Crary, J. 1988. ‘Modernizing Vision’, in Vision and Visuality, edited by Foster. H. Seattle: Bay Press: 29–44.<br /> Drobnick, J. 2006. ‘Introduction: Olfactocentrism’ in The Smell Culture Reader edited by Drobnick, J. Oxford: Berg: 1-9.<br /> <br /> Dewey, J. (1980) Art as Experience, New York: Perigee. <br /> <br /> Dunne, A. 2005. Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design, Cambridge, MA: MIT Press<br /> Dunn S. 2010. ‘Space as Artefact: A Perspective in Neogeography’, in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey: Ashgate: 53-72.
<br /> <br /> Favro, D. 1996. The Urban Image of Augustan Rome, Cambridge: Cambridge University Press.<br /> <br /> Favro, D. 2006. ‘In the Eyes of the Beholder: Virtual Reality Re-creations and Academia’, in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology: 321-34.<br /> <br /> <br /> Forte M. and Siliotti, A. 1997. Virtual Archaeology: Re-Creating Ancient Worlds, New York: HN Abrams. <br /> <br /> Forte, M. Campana, S. 2006. ‘From Space to Place’, Proceedings of the 2nd International Conference on Remote Sensing in Archaeology, BAR International Series 1568, Oxford: Archaeopress.<br /> <br /> Forte, M. (ed) 2010. Cyber Archaeology, BAR International<br /> Series 2177, Oxford: Archaeopress.<br /> <br /> Frischer, B., Abernathy, D., Giuliani, F. C., Scott, R. T., and Ziemssen, H. 2006. ‘A New Digital Model of the Roman Forum’ in in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology, 163-82.<br /> <br /> Gade, A. C. &amp; Angelakis, K. 2006. ‘Acoustics of ancient Greek and Roman theaters in use today' Acoustical Society of America. Journal vol 120, no. 5: 3148.<br /> <br /> Galloway, A. R. 2004. ‘Social Realism in Gaming’, Game Studies, New York.<br /> <br /> Giaccardi, G. et al 2012. Digital Heritage and Social Media, New York: Routledge. <br /> <br /> Gruen, E. 2011. Roman History: Early to Republic: Oxford Bibliographies Online Research Guide, Oxford: Oxford University Press. <br /> <br /> Harvey, S. A. 2006. Scenting Salvation; Ancient Christianity and the Olfactory Imagination, Berkeley, CA: University of California. <br /> <br /> Howes, D. 2005. Empire of the Senses: the Sensual Culture Reader, Oxford: Berg. <br /> <br /> Joyce, R. A. with Preucel, R.W. and Lopiparo, J. 2002. The Languages of Archaeology: Dialogue, Narrative and Writing. Oxford: Blackwell.<br /> <br /> Ihde, D. 2005. ‘Auditory Imagination’ in The Auditory Culture Reader edited by Bull, M. Back, L. Oxford: Berg: 61-66.<br /> <br /> Larmour, D. H. J. 2007. ‘Holes in the Body: Sites of Abjection in Juvenal’s Rome’ The Sites of Rome: Time, Space, Memory, edited by in Larmour, D. H. J. and Spencer, D. Oxford: Oxford University Press: 168-210.<br /> <br /> Latour, B. 1986. ‘Visualization and Cognition: Thinking with Eyes and Hands’, in Knowledge and Society: Studies in the Sociology of Culture Past and Present, edited by Kuklick, H. and Long, E. Vol. 6 Greenwich, CT and London: JAI Press: 1–40<br /> <br /> Latour, B. 1999. Pandora’s Hope: Essays on the Reality of Science Studies, Cambridge, MA: Harvard University Press.<br /> <br /> Lindhé, C. 2013. ‘A Visual Sense is Born in the Fingertips’: Towards a Digital Ekphrasis’ Digital Humanities Quarterly, 7(1): 376-82.<br /> <br /> Lyer, A. 2000. ‘Towards an Archaeology of Dance’ in Preservation Politics edited by Jordan, S. Dance Revived, Reconstructed, Remade, London: 141-5. <br /> <br /> Mahony, S. and Bodard, G. 2010. Digital Research in the Study of Classical Antiquity, Surrey: Ashgate. <br /> <br /> Mahony, S. and Bodard, G. 2010. ‘Introduction’ in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey Ashgate: 1-14. <br /> <br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> Shanks, M. 2004. ‘Three Rooms: Archaeology and Performance’, Journal of Social Archaeology 4(2): 147–80.<br /> <br /> Sengers, P., K. Boehner, S. David, and J. Kaye. 2005. ‘Reflective Design’. Proceedings of the 4th Decennial Conference on Critical Computing: Between Sense and Sensibility, Aarhus<br /> <br /> Thorsen, T. S. 2012. Greek and Roman Games in the Computer Age, Trondheim: NTNU Press.<br /> <br /> Toner, J. P. 2009. Popular Culture in Ancient Rome, Cambridge: Polity.<br /> <br /> Tuuri, K., Mustonen, M. &amp; Pirhonen, A. 2007. ‘Same Sound – Different Meanings: A Novel Scheme for Modes of listening’. In Proceedings of Audio Mostly 2007 Ilmenau, Germany: Fraunhofer Institute for Digital Media Technology IDMT. 13-18.<br /> <br /> Watson, A. and Keating, D. 1999. ‘Architecture and Sound: an Acoustic Analysis of Megalithic Monuments in Prehistoric Britain’. Antiquity 73: 325-36. <br /> <br /> Webb, R. 2002. ‘Female entertainments in Late Antiquity’, in Greek and Roman Actors, edited by Hall, E. and Easterling P., Cambridge: Cambridge University Press: 282-303. <br /> <br /> Webmoor, T. 2005. Social Software, Science Studies and Mediational Archaeology. Stanford, CA: Metamedia. <br /> <br /> Witmore, C.L. and Adler, J. 2004. New Media Transect: A Peripatetic Engagement with the Past. Stanford, CA: Metamedia.<br /> <br /> Witmore, C.L. 2004. ‘Four Archaeological Engagements with Place: Mediating Bodily Experience through Peripatetic Video’, Visual Anthropology Review 20(2): 57–71. <br /> <br /> Witmore, C.L. 2005. Multiple Field Approaches in the Mediterranean: Revisiting the Argolid Exploration Project. Stanford, CA: Metamedia. <br /> <br /> Witmore, C. L. 2006. ‘Vision, Media Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World’, Journal of Material Culture Vol. 11(3): 267–292<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[category:archaeology]]<br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]<br /> [[category:multisensory approaches]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=The_Swedish_Pompeii_Project&diff=4908 2014-07-04T10:04:08Z

<p>AnnaFoka: /* Links */</p> <hr /> <div>==The Swedish Pompey Project==<br /> <br /> The Swedish Pompeii Project started in 2000 as a fieldwork project initiated at the Swedish Institute in Rome. The aim was to record and analyse an entire Pompeian city-block, Insula V 1. In the recording process large quantities of data and photographs have been amassed and this is the forum we have chosen to share the collected information with those interested in the details of Pompeian houses. The presentation of each room with all its features constitutes a major part of this research platform, under the heading Documentation of Insula V 1. <br /> <br /> Some excavation took place in spots critical for the understanding of earlier phases of the city. In the course of such investigations, prehistoric (Early Bronze Age/Palma Campania) layers, including a volcanic ash layer, were encountered for the first time under Pompeii.<br /> <br /> Created to encompass all major disciplines promoted by the Swedish Institute in Rome, our research also targets a wider contextualisation of the Pompeian evidence. Pompeii Revived is the title used to shelter studies in legacy, whereas the City Gate Seminar has the ambition to discuss the validity of historical analogies as guidance for interpretation of evidence concerning everyday life in the past in a broad sense.<br /> <br /> Since autumn 2010 the project and its research is directed from the Department of Archaeology and Ancient History at Lund University.<br /> Simultaneously a new branch of advanced digital archaeology, involving 3D reconstructions and documentation methods was added to the project agenda. The insula was scanned during the field campaigns in 2011 and 2012 in collaboration with the ISTI (Istituto di Scienza e Tecnologie dell’Informazione &quot;A. Faedo&quot;) in Pisa and the Humanities Lab at Lund University. The actual work in progress, carried out by the ISTI in Pisa, consists of finding a way to navigate the models easily, &quot;naturally&quot;, and in such a way that it will be possible to freeze the image of a wall or other detail under study and link this image back to the documentation offered by this web page. The results will be presented shortly and our first 3D models are already available in open access. These are linked to the pages describing atrium and peristyle of the Casa del Torello, V 1,7.<br /> <br /> <br /> EDITORS of www.pompejiprojektet.se<br /> Anne-Marie Leander Touati, director of the Swedish Pompeii Project and its web. <br /> Henrik Boman, editor, webmaster: structure, text and image.<br /> <br /> <br /> Mats Holmlund, web designer: database administrator and technical support.<br /> <br /> Questions regarding the homepage can be addressed to Henrik Boman (henrik.boman@antiken.su.se) or Mats Holmlund (matsdholmlund@gmail.com).<br /> <br /> ==The Project==<br /> Contextualisation is a keynote concept in the design of the Swedish Pompeii Project. It recurs as a common ambition in all separate parts of the project.<br /> <br /> Fieldwork in Insula V 1<br /> The focus on context contributed to the choice of study object, a full insula instead of isolated houses, the by far more common base unit in the tradition of studies on Pompeian domestic architecture. The larger frame invites to study interrelation between the houses over time as well as the development of the separate units. When Pompeian time was arrested, Insula V 1 had known at least 250 years of urban life, during which certain moments brought major changes both in property use and in the arrangement of property boundaries. These changes should be discussed in relation to the general development of the town. Evidence related to the major events in the life of the town, proper to this insula, should be collected and commented upon, just as should all other fragments of Roman life that might still be retrieved through investigation of its ruins. The prerogative for this study is the creation of a new, accurate and thorough documentation. <br /> <br /> The City Gate Seminar<br /> In this research, the question of context is widened. One particular city environment has been chosen for study, not only in its Pompeian translations but also elsewhere, in other places and other times. In the case of Pompeian domestic architecture and the city scape in large, such historical analogies has been used as interpretative models for the use of space by Andrew Wallace-Hadrill in his Houses and Society in Pompeii and Herculaneum (1994). In Pompeji, Archäologie und Geschichte (2005), Jens-Arne Dickmann uses examples from contemporary Naples in his attempt to visualise the close coexistence of dwellings and artisans¡¯ shops. The part of the city chosen for our seminar took its point of departure in the location of Insula V 1, not by but close to the Porta Vesuvio. It seemed natural to expect that life within the insula was somehow dependent on the goings-on in the via del Vesuvio leading to and fro the Gate. Furthermore, the city gate is an important area in any ancient city, which has not been sufficiently studied neither in its own right nor in the light of comparative study. <br /> <br /> Pompeii revived<br /> The study of Pompeian afterlife aims to achieve three major results. One is to record ancient Pompeian material and Pompeian influences in Sweden from the 18th century to the present. Another is to discuss the motivation behind the references made to Pompeii in classicising architecture and interior decoration. The third is to put the Swedish experience in a larger, international context<br /> <br /> ==Publications==<br /> <br /> INSULA V 1<br /> <br /> 2013<br /> <br /> T. Staub, The Casa del Torello di Bronzo (V 1,7) in Pompeii. Investigating a residential house and its complex water system, doctoral dissertation at Stockholm University, Stockholm 2013.<br /> <br /> N. dell’Unto, M. Callieri, M. Dellepiane, A.-M. Leander Touati, S. Lindgren &amp; C. Larsson, ’Pompeii revived: Scanning mission - Insula V 1’, in Archaeology in the Digital Era. Papers from the 40th Annual Conference of Computer Applications and Quantitative Methods in Archaeology (CAA), Southampton, United Kingdom, 26-30 March 2012, (eds.) G. Earl, T. Sly, A. Chrysanthi, P. Murrieta-Flores, C. Papadopoulos, I. Romanowska &amp; D. Wheatley, Amsterdam 2013, 199-207. (Link)<br /> <br /> N. dell’Unto, D. Ferdani, A.-M. Leander Touati, M. Dellepiane, M. Callieri &amp; S. Lindgren, ’Digital reconstruction and visualization in archaeology. Case-study drawn from the work of the Swedish Pompeii Project’, in 2013 Digital Heritage International Congress, (eds.) A. Addison, G. Guidi, L. De Luca &amp; S. Pescarin, 2013, 621-628. (Link)<br /> <br /> 2011<br /> <br /> H. Boman ’Let there be light. Light in atrium houses in Roman Pompeii and Herculaneum’,<br /> Vesuviana 3, 2011, 89-102. <br /> <br /> A. Karivieri, ’The atrium mosaic in the Casa di Caecilius Iucundus and the aesthetics of a Pompeian house’, in Marmoribus Vestita. Miscellanea in Onore di F. Guidobaldi, (eds.) O. Brandt &amp; P. Pergola, Cittá del Vaticano 2011, 763-773.<br /> <br /> 2010<br /> <br /> A.-M. Leander Touati, ’Water, well-being and social complexity in Insula V 1. A Pompeian city block revisited’, Opuscula, 3, 2010, 105-161. (Link to free download)<br /> <br /> 2009<br /> <br /> M. Nilsson, ’The first of a series of disasters? Pompeii and the aftermath of an Early Bronze Age eruption’, Beyond determinism? Engagement and response in human-environment interactions (Archaeological Review from Cambridge, 24.2), (eds.) R.H. Inglis &amp; A.J.E. Pryor, Cambridge 2009, 81-98. <br /> <br /> T. Staub, ’Decorative effects and room functions. Evidence of thresholds studied in the residential quarters of Insula V 1, Pompeii’, Opuscula 2, 2009, 205-218. (Link to free download)<br /> <br /> 2008<br /> <br /> M. Staub Gierow, Pompejanische Kopien aus Dänemark (Studi della Soprintendenza archeologica di Pompei, 24), Roma 2008.<br /> <br /> In Nuove ricerche archeologiche nell’area vesuviana (scavi 2003-2006) Atti del convegno internazionale, Roma 1-3 febbraio 2007 (Studi della Soprintendenza archeologica di Pompei, 25), (eds.) P.G. Guzzo &amp; M.P. Guidobaldi, Rome 2008:<br /> M. Nilsson, ’Evidence of Palma Campania settlement at Pompeii’, 81-86.<br /> H. Boman, ’The interaction between street and houses in the North-West corner of Insula V 1’, 87-92. <br /> M. Staub Gierow, ’Some results from the last years’ field work in Casa degli Epigrammi Greci (V 1,18. 11-12)’, 93-102. <br /> A. Karivieri &amp; R. Forsell, ’New results from the campaigns of 2003-2006 in the Casa di Caecilius Iucundus (V, 1, 22-27)’, 103-108. <br /> T. Staub, ’Initiating the Study of Casa del Torello (V 1,7). Some observations concerning the water use and distribution’, 109-116.<br /> A.-M. Leander Touati, ’Shared structures - common constraints. Urbanisation of Insula V 1’, 117-123.<br /> <br /> 2007<br /> <br /> In Opuscula Romana 31-32, 2006-2007:<br /> A.-M. Leander Touati, ’Interim report of the Swedish Pompeii Project: work 2000-2004/5 in Insula V 1. Introduction’, 101-104.<br /> M. Staub Gierow, ’The House of the Greek epigrams V 1,18.11-12: preliminary report 2000-2004’, 105-117.<br /> A. Karivieri &amp; R. Forsell, ’The House of Caecilius Iucundus, V 1,22-27: a preliminary report’, 119-138.<br /> H. Boman &amp; M. Nilsson, ’The commercial establishments V 1,13; V 1,14-16; V 1,20-21: preliminary report 2001-2004’, 139-154.<br /> M. Robinson, ’Evidence for garden cultivation and the use of bedding-out plants in the peristyle garden of the House of the Greek epigrams (V 1, 18i) at Pompeii’, 155-159. <br /> H. Boman &amp; M. Nilsson, ’The early street and the prehistoric finds in Vicolo delle Nozze d’Argento, Pompeii’, 161-165. <br /> <br /> 2005<br /> <br /> H. Boman, ’White light/white heat. The use of fire as a light and heat source in an atrium house in Roman Pompeii’, Current Swedish Archaeology 13, 2005, 59-75.<br /> <br /> M. Nilsson &amp; M. Robinson, ’Remains of prehistoric habitation beneath Pompeii V 1,13’, Opuscula Romana 30, 2005, 97-103.<br /> <br /> M. Staub Gierow, ’Wiederentdeckte Wände der Casa delle Vestali, Pompeji VI 1,7’, Otium, Festschrift für Volker Michael Strocka, (eds.) T. Ganschow &amp; M. Steinhart, Remshalden 2005, 257-365.<br /> <br /> In Nuove ricerche archeologiche a Pompei ed Ercolano, Atti del convegno internazionale, Roma 28-30 novembre 2002 (Studi della Soprintendenza archeologica di Pompei, 10), (eds.) P.G. Guzzo &amp; M.P. Guidobaldi, Naples 2005:<br /> M. Staub Gierow, ’Insula V 1: Casa degli Epigrammi Greci’, 144-149; <br /> A. Karivieri, ’Insula V 1: Casa di Caecilius Iucundus (V 1.23-26)’, 150-55; <br /> T. Staub, ’Thresholds of V 1,18’, 387 (poster).<br /> E.M. Pinto-Guillaume, ’Drawing archaeological remains in the field’, 388 (poster). <br /> <br /> <br /> Public information<br /> <br /> F. Kärfve, ’Var hälsad, sårade björn! Pompejanska ingångsmosaiker’, Medusa 2013:1, 13-21.<br /> <br /> L. Johansson, ’Livet bland larerna. De materiella lämningarna av huskulten i Pompeji’, Medusa 2013:1, 23-30.<br /> <br /> Lunchboxen: Interview with Anne-Marie Leander Touati on radio channel P4 Malmöhus, ’Hon kan inte släppa Pompeji’, 2011-04-26. (Link to radio interview)<br /> <br /> C. Liebe-Harkort, ’Från middagsbordet till soptunnan. Djurben från forna måltider i Pompeji’, Medusa 2011:2, 1-4.<br /> <br /> M. Nilsson, ’Tio år av svensk utgrävning i Pompeji’, Populär arkeologi 2011:2, 28-29.<br /> <br /> Skåne direkt: Interview with Anne-Marie Leander Touati on radio channel P4 Malmöhus, ’Lundaarkeologer lär känna Pompeji’, 2011-01-13. (Link to radio interview)<br /> <br /> T. Staub, ’Pompeji: rasade hus och andra problem’, Romhorisont 54, 2011, 16-17.<br /> <br /> L. Johansson, ’Pompeji: hamnstaden mellan havet och floden’, Medusa 2010:3, 29-32. <br /> <br /> H. Boman, ’Aska och Pimpsten. En katastrof i Neapelbukten 79 e.Kr., Medusa 2010:2, 6-12. <br /> <br /> M. Nilsson, ’Vesuvius – en vulkan aktiv efter år 79’, Medusa 2010:2, 13-17.<br /> <br /> F. Kärfve, ’Vad görs för Pompeji?’, Medusa 2010:2, 18-24.<br /> <br /> H. Boman, ’Flyktingarna vid stranden’, Medusa 2010:2, 46.<br /> <br /> C. Liebe-Harkort, ’CAVE CANEM’, Medusa 2009:2, 33-36.<br /> <br /> M. Carlsson Lénart, ’Lavande historia’, Aftonbladet 2007-04-25. (Link)<br /> <br /> Vetandets värld, Swedish national radio P1: ’Katastrofernas geografi’ by M. Carlsson Lénart 2006-12-12. (Link)<br /> <br /> M. Nilsson, ’Den förhistoriska byn under Pompeji: resultat från utgrävningen 2005’, Romhorisont 46, 2006, 35-36.<br /> <br /> T. Svanelid, ’Katastrofialue: Pompeji. Arkeologit tekevät uusia löytöjä tulivuroren varjossa’, Historia 2006:5, 34-39.<br /> <br /> M. Nilsson, ’Utbrottet som förstörde Kampanien ...år 1700 f.Kr.’, Medusa 2006:4, 10-14.<br /> <br /> M. Nilsson, ’Ett Pompeji under Pompeji’, Populär arkeologi 2006:3, 4-7<br /> <br /> M. Nilsson, ’Kampanien under tidig bronsålder’, Populär arkeologi 2006:3, 8. <br /> <br /> M. Nilsson, ’Att leva och dö i Vesuvius skugga: katastrofer från förhistorisk till modern tid’, Katastrof! Olyckans geografi och antropologi (Ymer, 126), ed. T. Lundén, Stockholm 2006, 109-126.<br /> <br /> T. Svanelid, ’Katastrofområde: Pompeji. Arkeologerna gör nya fynd i vulkanens skugga’, Allt om historia 2005:3, 46-51.<br /> <br /> S. Lehmann, ’Una &quot;città&quot; prima di Pompei romana’, Archeologia Viva 113 nuova serie, 2005, 14-15.<br /> <br /> D. Rydén, ’Svenskt fynd i ruinstaden’, Sydsvenskan 2005-10-22. (Link)<br /> <br /> S. Lehmann, ’Viene alla luce una Pompei preistorica’, Corriere del Ticino 2005-08-08.<br /> <br /> M. Nilsson, ’Rapport från fältet: det okända Pompeji’, Romhorisont 45, 2005, 15-17.<br /> <br /> A.-M. Leander Touati, ’Jordflytt tack vare stöd’, Romhorisont 45, 2005, 17.<br /> <br /> E.M. Pinto-Guillaume, ’Keramik och mollusker i trädgårdens djup’, Romhorisont 45, 2005, 18-21.<br /> <br /> ’Pompeii beneath Pompeii’, Current World Archaeology 11, 2005, 6-7. (Link)<br /> <br /> S. Turrin, ’Pompei, un sito preistorico ai piedi del Vesuvio’, Sapere.it 2005-04-29.<br /> <br /> ’Pompei discovery for Swedish archeologists’, Iranian Cultural Heritage News Agency, www.chn.ir 2005-04-18.<br /> <br /> ’Frühe Siedlungen unter Pompeji entdeckt’, Spiegel Online 2005-04-18. (Link)<br /> <br /> ’Svenskt stenåldersfynd under Pompeji’, svt.se kulturnyheterna 2005-04-15. (Link)<br /> <br /> Vetenskapsradion, ’Svenska arkeologer hittade ett Pompeji under Pompeji’, Swedish national radio P1 2005-04-15. (Link)<br /> <br /> ’Äldre Pompeji funnet’, Populär historia 2005-04-14.<br /> <br /> G. Sörbring, ’Svenskar fann stenåldrigt Pompeji’, Dagens Nyheter 2005-04-14. (Link)<br /> <br /> A.-M. Leander-Touati, ’Pompeji 2000+’, Medusa 2003:4, 2-10.<br /> <br /> M. Gierow, ’Pompeji, namn och hus’, Medusa 2003:4, 11-21.<br /> <br /> C. Pettersson, ’Kalk, sand och lacknafta. Om putsanalyser i Pompeji’, Medusa 2003:4, 22-25.<br /> <br /> H. Boman,’Staden runt ett kvarter i Pompeji’, Medusa 2003:4, 27-35.<br /> <br /> A. Karivieri, ’En affärsmans arkiv i Pompeji – vaxtavlorna från Caecilius Iucundus hus’, Medusa 2003:4, 36-43.<br /> <br /> R. Forsell, ’Hela staden gungar’, Medusa 2003:4, 44-46.<br /> <br /> T. Staub, ’Pompejanska bagerier’, Medusa 2003:4, 47-56.<br /> <br /> B. Kaussel &amp; E.M. Pinto-Guillaume, ’Att dokumentera arkitektur i Pompeji – mer än bara mätningar’, Medusa 2003:4, 57-62.<br /> <br /> M. Nisser-Dalman, ’När Pompeji kom till Dalarna’, Medusa 2003:4, 63-71.<br /> <br /> Vetenskapsradion, ’Pompeji äldre än man trott’, interview on Swedish national radio P1 with Margareta Staub Gierow 2003-11-10. (Link)<br /> <br /> Pompeji - arkeologi och erotik, documentary on Swedish national TV channel SVT 2, producer Ann Victorin, 2003-01-19. (Link to the programme in the open archive of SVT Play)<br /> <br /> T. Svanelid, ’Svenskar kartlägger Pompejis äldsta historia’, Populär historia 2002-04-18. (Link)<br /> <br /> B. Gustafson, ’Pompeji – här har arkeologer grävt i trehundra år’, Populär arkeologi 2001:3, 8-11.<br /> <br /> ==Links==<br /> *http://www.pompejiprojektet.se/index.php<br /> <br /> *http://www.pompejiprojektet.se/links.php<br /> <br /> <br /> <br /> [[category:archaeology]]<br /> [[category:classics]]<br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=The_Swedish_Pompeii_Project&diff=4907 2014-07-04T10:02:54Z

<p>AnnaFoka: /* Publications */</p> <hr /> <div>==The Swedish Pompey Project==<br /> <br /> The Swedish Pompeii Project started in 2000 as a fieldwork project initiated at the Swedish Institute in Rome. The aim was to record and analyse an entire Pompeian city-block, Insula V 1. In the recording process large quantities of data and photographs have been amassed and this is the forum we have chosen to share the collected information with those interested in the details of Pompeian houses. The presentation of each room with all its features constitutes a major part of this research platform, under the heading Documentation of Insula V 1. <br /> <br /> Some excavation took place in spots critical for the understanding of earlier phases of the city. In the course of such investigations, prehistoric (Early Bronze Age/Palma Campania) layers, including a volcanic ash layer, were encountered for the first time under Pompeii.<br /> <br /> Created to encompass all major disciplines promoted by the Swedish Institute in Rome, our research also targets a wider contextualisation of the Pompeian evidence. Pompeii Revived is the title used to shelter studies in legacy, whereas the City Gate Seminar has the ambition to discuss the validity of historical analogies as guidance for interpretation of evidence concerning everyday life in the past in a broad sense.<br /> <br /> Since autumn 2010 the project and its research is directed from the Department of Archaeology and Ancient History at Lund University.<br /> Simultaneously a new branch of advanced digital archaeology, involving 3D reconstructions and documentation methods was added to the project agenda. The insula was scanned during the field campaigns in 2011 and 2012 in collaboration with the ISTI (Istituto di Scienza e Tecnologie dell’Informazione &quot;A. Faedo&quot;) in Pisa and the Humanities Lab at Lund University. The actual work in progress, carried out by the ISTI in Pisa, consists of finding a way to navigate the models easily, &quot;naturally&quot;, and in such a way that it will be possible to freeze the image of a wall or other detail under study and link this image back to the documentation offered by this web page. The results will be presented shortly and our first 3D models are already available in open access. These are linked to the pages describing atrium and peristyle of the Casa del Torello, V 1,7.<br /> <br /> <br /> EDITORS of www.pompejiprojektet.se<br /> Anne-Marie Leander Touati, director of the Swedish Pompeii Project and its web. <br /> Henrik Boman, editor, webmaster: structure, text and image.<br /> <br /> <br /> Mats Holmlund, web designer: database administrator and technical support.<br /> <br /> Questions regarding the homepage can be addressed to Henrik Boman (henrik.boman@antiken.su.se) or Mats Holmlund (matsdholmlund@gmail.com).<br /> <br /> ==The Project==<br /> Contextualisation is a keynote concept in the design of the Swedish Pompeii Project. It recurs as a common ambition in all separate parts of the project.<br /> <br /> Fieldwork in Insula V 1<br /> The focus on context contributed to the choice of study object, a full insula instead of isolated houses, the by far more common base unit in the tradition of studies on Pompeian domestic architecture. The larger frame invites to study interrelation between the houses over time as well as the development of the separate units. When Pompeian time was arrested, Insula V 1 had known at least 250 years of urban life, during which certain moments brought major changes both in property use and in the arrangement of property boundaries. These changes should be discussed in relation to the general development of the town. Evidence related to the major events in the life of the town, proper to this insula, should be collected and commented upon, just as should all other fragments of Roman life that might still be retrieved through investigation of its ruins. The prerogative for this study is the creation of a new, accurate and thorough documentation. <br /> <br /> The City Gate Seminar<br /> In this research, the question of context is widened. One particular city environment has been chosen for study, not only in its Pompeian translations but also elsewhere, in other places and other times. In the case of Pompeian domestic architecture and the city scape in large, such historical analogies has been used as interpretative models for the use of space by Andrew Wallace-Hadrill in his Houses and Society in Pompeii and Herculaneum (1994). In Pompeji, Archäologie und Geschichte (2005), Jens-Arne Dickmann uses examples from contemporary Naples in his attempt to visualise the close coexistence of dwellings and artisans¡¯ shops. The part of the city chosen for our seminar took its point of departure in the location of Insula V 1, not by but close to the Porta Vesuvio. It seemed natural to expect that life within the insula was somehow dependent on the goings-on in the via del Vesuvio leading to and fro the Gate. Furthermore, the city gate is an important area in any ancient city, which has not been sufficiently studied neither in its own right nor in the light of comparative study. <br /> <br /> Pompeii revived<br /> The study of Pompeian afterlife aims to achieve three major results. One is to record ancient Pompeian material and Pompeian influences in Sweden from the 18th century to the present. Another is to discuss the motivation behind the references made to Pompeii in classicising architecture and interior decoration. The third is to put the Swedish experience in a larger, international context<br /> <br /> ==Publications==<br /> <br /> INSULA V 1<br /> <br /> 2013<br /> <br /> T. Staub, The Casa del Torello di Bronzo (V 1,7) in Pompeii. Investigating a residential house and its complex water system, doctoral dissertation at Stockholm University, Stockholm 2013.<br /> <br /> N. dell’Unto, M. Callieri, M. Dellepiane, A.-M. Leander Touati, S. Lindgren &amp; C. Larsson, ’Pompeii revived: Scanning mission - Insula V 1’, in Archaeology in the Digital Era. Papers from the 40th Annual Conference of Computer Applications and Quantitative Methods in Archaeology (CAA), Southampton, United Kingdom, 26-30 March 2012, (eds.) G. Earl, T. Sly, A. Chrysanthi, P. Murrieta-Flores, C. Papadopoulos, I. Romanowska &amp; D. Wheatley, Amsterdam 2013, 199-207. (Link)<br /> <br /> N. dell’Unto, D. Ferdani, A.-M. Leander Touati, M. Dellepiane, M. Callieri &amp; S. Lindgren, ’Digital reconstruction and visualization in archaeology. Case-study drawn from the work of the Swedish Pompeii Project’, in 2013 Digital Heritage International Congress, (eds.) A. Addison, G. Guidi, L. De Luca &amp; S. Pescarin, 2013, 621-628. (Link)<br /> <br /> 2011<br /> <br /> H. Boman ’Let there be light. Light in atrium houses in Roman Pompeii and Herculaneum’,<br /> Vesuviana 3, 2011, 89-102. <br /> <br /> A. Karivieri, ’The atrium mosaic in the Casa di Caecilius Iucundus and the aesthetics of a Pompeian house’, in Marmoribus Vestita. Miscellanea in Onore di F. Guidobaldi, (eds.) O. Brandt &amp; P. Pergola, Cittá del Vaticano 2011, 763-773.<br /> <br /> 2010<br /> <br /> A.-M. Leander Touati, ’Water, well-being and social complexity in Insula V 1. A Pompeian city block revisited’, Opuscula, 3, 2010, 105-161. (Link to free download)<br /> <br /> 2009<br /> <br /> M. Nilsson, ’The first of a series of disasters? Pompeii and the aftermath of an Early Bronze Age eruption’, Beyond determinism? Engagement and response in human-environment interactions (Archaeological Review from Cambridge, 24.2), (eds.) R.H. Inglis &amp; A.J.E. Pryor, Cambridge 2009, 81-98. <br /> <br /> T. Staub, ’Decorative effects and room functions. Evidence of thresholds studied in the residential quarters of Insula V 1, Pompeii’, Opuscula 2, 2009, 205-218. (Link to free download)<br /> <br /> 2008<br /> <br /> M. Staub Gierow, Pompejanische Kopien aus Dänemark (Studi della Soprintendenza archeologica di Pompei, 24), Roma 2008.<br /> <br /> In Nuove ricerche archeologiche nell’area vesuviana (scavi 2003-2006) Atti del convegno internazionale, Roma 1-3 febbraio 2007 (Studi della Soprintendenza archeologica di Pompei, 25), (eds.) P.G. Guzzo &amp; M.P. Guidobaldi, Rome 2008:<br /> M. Nilsson, ’Evidence of Palma Campania settlement at Pompeii’, 81-86.<br /> H. Boman, ’The interaction between street and houses in the North-West corner of Insula V 1’, 87-92. <br /> M. Staub Gierow, ’Some results from the last years’ field work in Casa degli Epigrammi Greci (V 1,18. 11-12)’, 93-102. <br /> A. Karivieri &amp; R. Forsell, ’New results from the campaigns of 2003-2006 in the Casa di Caecilius Iucundus (V, 1, 22-27)’, 103-108. <br /> T. Staub, ’Initiating the Study of Casa del Torello (V 1,7). Some observations concerning the water use and distribution’, 109-116.<br /> A.-M. Leander Touati, ’Shared structures - common constraints. Urbanisation of Insula V 1’, 117-123.<br /> <br /> 2007<br /> <br /> In Opuscula Romana 31-32, 2006-2007:<br /> A.-M. Leander Touati, ’Interim report of the Swedish Pompeii Project: work 2000-2004/5 in Insula V 1. Introduction’, 101-104.<br /> M. Staub Gierow, ’The House of the Greek epigrams V 1,18.11-12: preliminary report 2000-2004’, 105-117.<br /> A. Karivieri &amp; R. Forsell, ’The House of Caecilius Iucundus, V 1,22-27: a preliminary report’, 119-138.<br /> H. Boman &amp; M. Nilsson, ’The commercial establishments V 1,13; V 1,14-16; V 1,20-21: preliminary report 2001-2004’, 139-154.<br /> M. Robinson, ’Evidence for garden cultivation and the use of bedding-out plants in the peristyle garden of the House of the Greek epigrams (V 1, 18i) at Pompeii’, 155-159. <br /> H. Boman &amp; M. Nilsson, ’The early street and the prehistoric finds in Vicolo delle Nozze d’Argento, Pompeii’, 161-165. <br /> <br /> 2005<br /> <br /> H. Boman, ’White light/white heat. The use of fire as a light and heat source in an atrium house in Roman Pompeii’, Current Swedish Archaeology 13, 2005, 59-75.<br /> <br /> M. Nilsson &amp; M. Robinson, ’Remains of prehistoric habitation beneath Pompeii V 1,13’, Opuscula Romana 30, 2005, 97-103.<br /> <br /> M. Staub Gierow, ’Wiederentdeckte Wände der Casa delle Vestali, Pompeji VI 1,7’, Otium, Festschrift für Volker Michael Strocka, (eds.) T. Ganschow &amp; M. Steinhart, Remshalden 2005, 257-365.<br /> <br /> In Nuove ricerche archeologiche a Pompei ed Ercolano, Atti del convegno internazionale, Roma 28-30 novembre 2002 (Studi della Soprintendenza archeologica di Pompei, 10), (eds.) P.G. Guzzo &amp; M.P. Guidobaldi, Naples 2005:<br /> M. Staub Gierow, ’Insula V 1: Casa degli Epigrammi Greci’, 144-149; <br /> A. Karivieri, ’Insula V 1: Casa di Caecilius Iucundus (V 1.23-26)’, 150-55; <br /> T. Staub, ’Thresholds of V 1,18’, 387 (poster).<br /> E.M. Pinto-Guillaume, ’Drawing archaeological remains in the field’, 388 (poster). <br /> <br /> <br /> Public information<br /> <br /> F. Kärfve, ’Var hälsad, sårade björn! Pompejanska ingångsmosaiker’, Medusa 2013:1, 13-21.<br /> <br /> L. Johansson, ’Livet bland larerna. De materiella lämningarna av huskulten i Pompeji’, Medusa 2013:1, 23-30.<br /> <br /> Lunchboxen: Interview with Anne-Marie Leander Touati on radio channel P4 Malmöhus, ’Hon kan inte släppa Pompeji’, 2011-04-26. (Link to radio interview)<br /> <br /> C. Liebe-Harkort, ’Från middagsbordet till soptunnan. Djurben från forna måltider i Pompeji’, Medusa 2011:2, 1-4.<br /> <br /> M. Nilsson, ’Tio år av svensk utgrävning i Pompeji’, Populär arkeologi 2011:2, 28-29.<br /> <br /> Skåne direkt: Interview with Anne-Marie Leander Touati on radio channel P4 Malmöhus, ’Lundaarkeologer lär känna Pompeji’, 2011-01-13. (Link to radio interview)<br /> <br /> T. Staub, ’Pompeji: rasade hus och andra problem’, Romhorisont 54, 2011, 16-17.<br /> <br /> L. Johansson, ’Pompeji: hamnstaden mellan havet och floden’, Medusa 2010:3, 29-32. <br /> <br /> H. Boman, ’Aska och Pimpsten. En katastrof i Neapelbukten 79 e.Kr., Medusa 2010:2, 6-12. <br /> <br /> M. Nilsson, ’Vesuvius – en vulkan aktiv efter år 79’, Medusa 2010:2, 13-17.<br /> <br /> F. Kärfve, ’Vad görs för Pompeji?’, Medusa 2010:2, 18-24.<br /> <br /> H. Boman, ’Flyktingarna vid stranden’, Medusa 2010:2, 46.<br /> <br /> C. Liebe-Harkort, ’CAVE CANEM’, Medusa 2009:2, 33-36.<br /> <br /> M. Carlsson Lénart, ’Lavande historia’, Aftonbladet 2007-04-25. (Link)<br /> <br /> Vetandets värld, Swedish national radio P1: ’Katastrofernas geografi’ by M. Carlsson Lénart 2006-12-12. (Link)<br /> <br /> M. Nilsson, ’Den förhistoriska byn under Pompeji: resultat från utgrävningen 2005’, Romhorisont 46, 2006, 35-36.<br /> <br /> T. Svanelid, ’Katastrofialue: Pompeji. Arkeologit tekevät uusia löytöjä tulivuroren varjossa’, Historia 2006:5, 34-39.<br /> <br /> M. Nilsson, ’Utbrottet som förstörde Kampanien ...år 1700 f.Kr.’, Medusa 2006:4, 10-14.<br /> <br /> M. Nilsson, ’Ett Pompeji under Pompeji’, Populär arkeologi 2006:3, 4-7<br /> <br /> M. Nilsson, ’Kampanien under tidig bronsålder’, Populär arkeologi 2006:3, 8. <br /> <br /> M. Nilsson, ’Att leva och dö i Vesuvius skugga: katastrofer från förhistorisk till modern tid’, Katastrof! Olyckans geografi och antropologi (Ymer, 126), ed. T. Lundén, Stockholm 2006, 109-126.<br /> <br /> T. Svanelid, ’Katastrofområde: Pompeji. Arkeologerna gör nya fynd i vulkanens skugga’, Allt om historia 2005:3, 46-51.<br /> <br /> S. Lehmann, ’Una &quot;città&quot; prima di Pompei romana’, Archeologia Viva 113 nuova serie, 2005, 14-15.<br /> <br /> D. Rydén, ’Svenskt fynd i ruinstaden’, Sydsvenskan 2005-10-22. (Link)<br /> <br /> S. Lehmann, ’Viene alla luce una Pompei preistorica’, Corriere del Ticino 2005-08-08.<br /> <br /> M. Nilsson, ’Rapport från fältet: det okända Pompeji’, Romhorisont 45, 2005, 15-17.<br /> <br /> A.-M. Leander Touati, ’Jordflytt tack vare stöd’, Romhorisont 45, 2005, 17.<br /> <br /> E.M. Pinto-Guillaume, ’Keramik och mollusker i trädgårdens djup’, Romhorisont 45, 2005, 18-21.<br /> <br /> ’Pompeii beneath Pompeii’, Current World Archaeology 11, 2005, 6-7. (Link)<br /> <br /> S. Turrin, ’Pompei, un sito preistorico ai piedi del Vesuvio’, Sapere.it 2005-04-29.<br /> <br /> ’Pompei discovery for Swedish archeologists’, Iranian Cultural Heritage News Agency, www.chn.ir 2005-04-18.<br /> <br /> ’Frühe Siedlungen unter Pompeji entdeckt’, Spiegel Online 2005-04-18. (Link)<br /> <br /> ’Svenskt stenåldersfynd under Pompeji’, svt.se kulturnyheterna 2005-04-15. (Link)<br /> <br /> Vetenskapsradion, ’Svenska arkeologer hittade ett Pompeji under Pompeji’, Swedish national radio P1 2005-04-15. (Link)<br /> <br /> ’Äldre Pompeji funnet’, Populär historia 2005-04-14.<br /> <br /> G. Sörbring, ’Svenskar fann stenåldrigt Pompeji’, Dagens Nyheter 2005-04-14. (Link)<br /> <br /> A.-M. Leander-Touati, ’Pompeji 2000+’, Medusa 2003:4, 2-10.<br /> <br /> M. Gierow, ’Pompeji, namn och hus’, Medusa 2003:4, 11-21.<br /> <br /> C. Pettersson, ’Kalk, sand och lacknafta. Om putsanalyser i Pompeji’, Medusa 2003:4, 22-25.<br /> <br /> H. Boman,’Staden runt ett kvarter i Pompeji’, Medusa 2003:4, 27-35.<br /> <br /> A. Karivieri, ’En affärsmans arkiv i Pompeji – vaxtavlorna från Caecilius Iucundus hus’, Medusa 2003:4, 36-43.<br /> <br /> R. Forsell, ’Hela staden gungar’, Medusa 2003:4, 44-46.<br /> <br /> T. Staub, ’Pompejanska bagerier’, Medusa 2003:4, 47-56.<br /> <br /> B. Kaussel &amp; E.M. Pinto-Guillaume, ’Att dokumentera arkitektur i Pompeji – mer än bara mätningar’, Medusa 2003:4, 57-62.<br /> <br /> M. Nisser-Dalman, ’När Pompeji kom till Dalarna’, Medusa 2003:4, 63-71.<br /> <br /> Vetenskapsradion, ’Pompeji äldre än man trott’, interview on Swedish national radio P1 with Margareta Staub Gierow 2003-11-10. (Link)<br /> <br /> Pompeji - arkeologi och erotik, documentary on Swedish national TV channel SVT 2, producer Ann Victorin, 2003-01-19. (Link to the programme in the open archive of SVT Play)<br /> <br /> T. Svanelid, ’Svenskar kartlägger Pompejis äldsta historia’, Populär historia 2002-04-18. (Link)<br /> <br /> B. Gustafson, ’Pompeji – här har arkeologer grävt i trehundra år’, Populär arkeologi 2001:3, 8-11.<br /> <br /> ==Links==<br /> *http://www.pompejiprojektet.se/index.php<br /> <br /> *http://www.pompejiprojektet.se/links.php</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=The_Swedish_Pompeii_Project&diff=4906 2014-07-04T10:01:30Z

<p>AnnaFoka: </p> <hr /> <div>==The Swedish Pompey Project==<br /> <br /> The Swedish Pompeii Project started in 2000 as a fieldwork project initiated at the Swedish Institute in Rome. The aim was to record and analyse an entire Pompeian city-block, Insula V 1. In the recording process large quantities of data and photographs have been amassed and this is the forum we have chosen to share the collected information with those interested in the details of Pompeian houses. The presentation of each room with all its features constitutes a major part of this research platform, under the heading Documentation of Insula V 1. <br /> <br /> Some excavation took place in spots critical for the understanding of earlier phases of the city. In the course of such investigations, prehistoric (Early Bronze Age/Palma Campania) layers, including a volcanic ash layer, were encountered for the first time under Pompeii.<br /> <br /> Created to encompass all major disciplines promoted by the Swedish Institute in Rome, our research also targets a wider contextualisation of the Pompeian evidence. Pompeii Revived is the title used to shelter studies in legacy, whereas the City Gate Seminar has the ambition to discuss the validity of historical analogies as guidance for interpretation of evidence concerning everyday life in the past in a broad sense.<br /> <br /> Since autumn 2010 the project and its research is directed from the Department of Archaeology and Ancient History at Lund University.<br /> Simultaneously a new branch of advanced digital archaeology, involving 3D reconstructions and documentation methods was added to the project agenda. The insula was scanned during the field campaigns in 2011 and 2012 in collaboration with the ISTI (Istituto di Scienza e Tecnologie dell’Informazione &quot;A. Faedo&quot;) in Pisa and the Humanities Lab at Lund University. The actual work in progress, carried out by the ISTI in Pisa, consists of finding a way to navigate the models easily, &quot;naturally&quot;, and in such a way that it will be possible to freeze the image of a wall or other detail under study and link this image back to the documentation offered by this web page. The results will be presented shortly and our first 3D models are already available in open access. These are linked to the pages describing atrium and peristyle of the Casa del Torello, V 1,7.<br /> <br /> <br /> EDITORS of www.pompejiprojektet.se<br /> Anne-Marie Leander Touati, director of the Swedish Pompeii Project and its web. <br /> Henrik Boman, editor, webmaster: structure, text and image.<br /> <br /> <br /> Mats Holmlund, web designer: database administrator and technical support.<br /> <br /> Questions regarding the homepage can be addressed to Henrik Boman (henrik.boman@antiken.su.se) or Mats Holmlund (matsdholmlund@gmail.com).<br /> <br /> ==The Project==<br /> Contextualisation is a keynote concept in the design of the Swedish Pompeii Project. It recurs as a common ambition in all separate parts of the project.<br /> <br /> Fieldwork in Insula V 1<br /> The focus on context contributed to the choice of study object, a full insula instead of isolated houses, the by far more common base unit in the tradition of studies on Pompeian domestic architecture. The larger frame invites to study interrelation between the houses over time as well as the development of the separate units. When Pompeian time was arrested, Insula V 1 had known at least 250 years of urban life, during which certain moments brought major changes both in property use and in the arrangement of property boundaries. These changes should be discussed in relation to the general development of the town. Evidence related to the major events in the life of the town, proper to this insula, should be collected and commented upon, just as should all other fragments of Roman life that might still be retrieved through investigation of its ruins. The prerogative for this study is the creation of a new, accurate and thorough documentation. <br /> <br /> The City Gate Seminar<br /> In this research, the question of context is widened. One particular city environment has been chosen for study, not only in its Pompeian translations but also elsewhere, in other places and other times. In the case of Pompeian domestic architecture and the city scape in large, such historical analogies has been used as interpretative models for the use of space by Andrew Wallace-Hadrill in his Houses and Society in Pompeii and Herculaneum (1994). In Pompeji, Archäologie und Geschichte (2005), Jens-Arne Dickmann uses examples from contemporary Naples in his attempt to visualise the close coexistence of dwellings and artisans¡¯ shops. The part of the city chosen for our seminar took its point of departure in the location of Insula V 1, not by but close to the Porta Vesuvio. It seemed natural to expect that life within the insula was somehow dependent on the goings-on in the via del Vesuvio leading to and fro the Gate. Furthermore, the city gate is an important area in any ancient city, which has not been sufficiently studied neither in its own right nor in the light of comparative study. <br /> <br /> Pompeii revived<br /> The study of Pompeian afterlife aims to achieve three major results. One is to record ancient Pompeian material and Pompeian influences in Sweden from the 18th century to the present. Another is to discuss the motivation behind the references made to Pompeii in classicising architecture and interior decoration. The third is to put the Swedish experience in a larger, international context<br /> <br /> ==Publications==<br /> <br /> INSULA V 1<br /> <br /> 2013<br /> <br /> T. Staub, The Casa del Torello di Bronzo (V 1,7) in Pompeii. Investigating a residential house and its complex water system, doctoral dissertation at Stockholm University, Stockholm 2013.<br /> <br /> N. dell’Unto, M. Callieri, M. Dellepiane, A.-M. Leander Touati, S. Lindgren &amp; C. Larsson, ’Pompeii revived: Scanning mission - Insula V 1’, in Archaeology in the Digital Era. Papers from the 40th Annual Conference of Computer Applications and Quantitative Methods in Archaeology (CAA), Southampton, United Kingdom, 26-30 March 2012, (eds.) G. Earl, T. Sly, A. Chrysanthi, P. Murrieta-Flores, C. Papadopoulos, I. Romanowska &amp; D. Wheatley, Amsterdam 2013, 199-207. (Link)<br /> <br /> N. dell’Unto, D. Ferdani, A.-M. Leander Touati, M. Dellepiane, M. Callieri &amp; S. Lindgren, ’Digital reconstruction and visualization in archaeology. Case-study drawn from the work of the Swedish Pompeii Project’, in 2013 Digital Heritage International Congress, (eds.) A. Addison, G. Guidi, L. De Luca &amp; S. Pescarin, 2013, 621-628. (Link)<br /> <br /> 2011<br /> <br /> H. Boman ’Let there be light. Light in atrium houses in Roman Pompeii and Herculaneum’,<br /> Vesuviana 3, 2011, 89-102. <br /> <br /> A. Karivieri, ’The atrium mosaic in the Casa di Caecilius Iucundus and the aesthetics of a Pompeian house’, in Marmoribus Vestita. Miscellanea in Onore di F. Guidobaldi, (eds.) O. Brandt &amp; P. Pergola, Cittá del Vaticano 2011, 763-773.<br /> <br /> 2010<br /> <br /> A.-M. Leander Touati, ’Water, well-being and social complexity in Insula V 1. A Pompeian city block revisited’, Opuscula, 3, 2010, 105-161. (Link to free download)<br /> <br /> 2009<br /> <br /> M. Nilsson, ’The first of a series of disasters? Pompeii and the aftermath of an Early Bronze Age eruption’, Beyond determinism? Engagement and response in human-environment interactions (Archaeological Review from Cambridge, 24.2), (eds.) R.H. Inglis &amp; A.J.E. Pryor, Cambridge 2009, 81-98. <br /> <br /> T. Staub, ’Decorative effects and room functions. Evidence of thresholds studied in the residential quarters of Insula V 1, Pompeii’, Opuscula 2, 2009, 205-218. (Link to free download)<br /> <br /> 2008<br /> <br /> M. Staub Gierow, Pompejanische Kopien aus Dänemark (Studi della Soprintendenza archeologica di Pompei, 24), Roma 2008.<br /> <br /> In Nuove ricerche archeologiche nell’area vesuviana (scavi 2003-2006) Atti del convegno internazionale, Roma 1-3 febbraio 2007 (Studi della Soprintendenza archeologica di Pompei, 25), (eds.) P.G. Guzzo &amp; M.P. Guidobaldi, Rome 2008:<br /> M. Nilsson, ’Evidence of Palma Campania settlement at Pompeii’, 81-86.<br /> H. Boman, ’The interaction between street and houses in the North-West corner of Insula V 1’, 87-92. <br /> M. Staub Gierow, ’Some results from the last years’ field work in Casa degli Epigrammi Greci (V 1,18. 11-12)’, 93-102. <br /> A. Karivieri &amp; R. Forsell, ’New results from the campaigns of 2003-2006 in the Casa di Caecilius Iucundus (V, 1, 22-27)’, 103-108. <br /> T. Staub, ’Initiating the Study of Casa del Torello (V 1,7). Some observations concerning the water use and distribution’, 109-116.<br /> A.-M. Leander Touati, ’Shared structures - common constraints. Urbanisation of Insula V 1’, 117-123.<br /> <br /> 2007<br /> <br /> In Opuscula Romana 31-32, 2006-2007:<br /> A.-M. Leander Touati, ’Interim report of the Swedish Pompeii Project: work 2000-2004/5 in Insula V 1. Introduction’, 101-104.<br /> M. Staub Gierow, ’The House of the Greek epigrams V 1,18.11-12: preliminary report 2000-2004’, 105-117.<br /> A. Karivieri &amp; R. Forsell, ’The House of Caecilius Iucundus, V 1,22-27: a preliminary report’, 119-138.<br /> H. Boman &amp; M. Nilsson, ’The commercial establishments V 1,13; V 1,14-16; V 1,20-21: preliminary report 2001-2004’, 139-154.<br /> M. Robinson, ’Evidence for garden cultivation and the use of bedding-out plants in the peristyle garden of the House of the Greek epigrams (V 1, 18i) at Pompeii’, 155-159. <br /> H. Boman &amp; M. Nilsson, ’The early street and the prehistoric finds in Vicolo delle Nozze d’Argento, Pompeii’, 161-165. <br /> <br /> 2005<br /> <br /> H. Boman, ’White light/white heat. The use of fire as a light and heat source in an atrium house in Roman Pompeii’, Current Swedish Archaeology 13, 2005, 59-75.<br /> <br /> M. Nilsson &amp; M. Robinson, ’Remains of prehistoric habitation beneath Pompeii V 1,13’, Opuscula Romana 30, 2005, 97-103.<br /> <br /> M. Staub Gierow, ’Wiederentdeckte Wände der Casa delle Vestali, Pompeji VI 1,7’, Otium, Festschrift für Volker Michael Strocka, (eds.) T. Ganschow &amp; M. Steinhart, Remshalden 2005, 257-365.<br /> <br /> In Nuove ricerche archeologiche a Pompei ed Ercolano, Atti del convegno internazionale, Roma 28-30 novembre 2002 (Studi della Soprintendenza archeologica di Pompei, 10), (eds.) P.G. Guzzo &amp; M.P. Guidobaldi, Naples 2005:<br /> M. Staub Gierow, ’Insula V 1: Casa degli Epigrammi Greci’, 144-149; <br /> A. Karivieri, ’Insula V 1: Casa di Caecilius Iucundus (V 1.23-26)’, 150-55; <br /> T. Staub, ’Thresholds of V 1,18’, 387 (poster).<br /> E.M. Pinto-Guillaume, ’Drawing archaeological remains in the field’, 388 (poster). <br /> <br /> <br /> Public information<br /> <br /> F. Kärfve, ’Var hälsad, sårade björn! Pompejanska ingångsmosaiker’, Medusa 2013:1, 13-21.<br /> <br /> L. Johansson, ’Livet bland larerna. De materiella lämningarna av huskulten i Pompeji’, Medusa 2013:1, 23-30.<br /> <br /> Lunchboxen: Interview with Anne-Marie Leander Touati on radio channel P4 Malmöhus, ’Hon kan inte släppa Pompeji’, 2011-04-26. (Link to radio interview)<br /> <br /> C. Liebe-Harkort, ’Från middagsbordet till soptunnan. Djurben från forna måltider i Pompeji’, Medusa 2011:2, 1-4.<br /> <br /> M. Nilsson, ’Tio år av svensk utgrävning i Pompeji’, Populär arkeologi 2011:2, 28-29.<br /> <br /> Skåne direkt: Interview with Anne-Marie Leander Touati on radio channel P4 Malmöhus, ’Lundaarkeologer lär känna Pompeji’, 2011-01-13. (Link to radio interview)<br /> <br /> T. Staub, ’Pompeji: rasade hus och andra problem’, Romhorisont 54, 2011, 16-17.<br /> <br /> L. Johansson, ’Pompeji: hamnstaden mellan havet och floden’, Medusa 2010:3, 29-32. <br /> <br /> H. Boman, ’Aska och Pimpsten. En katastrof i Neapelbukten 79 e.Kr., Medusa 2010:2, 6-12. <br /> <br /> M. Nilsson, ’Vesuvius – en vulkan aktiv efter år 79’, Medusa 2010:2, 13-17.<br /> <br /> F. Kärfve, ’Vad görs för Pompeji?’, Medusa 2010:2, 18-24.<br /> <br /> H. Boman, ’Flyktingarna vid stranden’, Medusa 2010:2, 46.<br /> <br /> C. Liebe-Harkort, ’CAVE CANEM’, Medusa 2009:2, 33-36.<br /> <br /> M. Carlsson Lénart, ’Lavande historia’, Aftonbladet 2007-04-25. (Link)<br /> <br /> Vetandets värld, Swedish national radio P1: ’Katastrofernas geografi’ by M. Carlsson Lénart 2006-12-12. (Link)<br /> <br /> M. Nilsson, ’Den förhistoriska byn under Pompeji: resultat från utgrävningen 2005’, Romhorisont 46, 2006, 35-36.<br /> <br /> T. Svanelid, ’Katastrofialue: Pompeji. Arkeologit tekevät uusia löytöjä tulivuroren varjossa’, Historia 2006:5, 34-39.<br /> <br /> M. Nilsson, ’Utbrottet som förstörde Kampanien ...år 1700 f.Kr.’, Medusa 2006:4, 10-14.<br /> <br /> M. Nilsson, ’Ett Pompeji under Pompeji’, Populär arkeologi 2006:3, 4-7<br /> <br /> M. Nilsson, ’Kampanien under tidig bronsålder’, Populär arkeologi 2006:3, 8. <br /> <br /> M. Nilsson, ’Att leva och dö i Vesuvius skugga: katastrofer från förhistorisk till modern tid’, Katastrof! Olyckans geografi och antropologi (Ymer, 126), ed. T. Lundén, Stockholm 2006, 109-126.<br /> <br /> T. Svanelid, ’Katastrofområde: Pompeji. Arkeologerna gör nya fynd i vulkanens skugga’, Allt om historia 2005:3, 46-51.<br /> <br /> S. Lehmann, ’Una &quot;città&quot; prima di Pompei romana’, Archeologia Viva 113 nuova serie, 2005, 14-15.<br /> <br /> D. Rydén, ’Svenskt fynd i ruinstaden’, Sydsvenskan 2005-10-22. (Link)<br /> <br /> S. Lehmann, ’Viene alla luce una Pompei preistorica’, Corriere del Ticino 2005-08-08.<br /> <br /> M. Nilsson, ’Rapport från fältet: det okända Pompeji’, Romhorisont 45, 2005, 15-17.<br /> <br /> A.-M. Leander Touati, ’Jordflytt tack vare stöd’, Romhorisont 45, 2005, 17.<br /> <br /> E.M. Pinto-Guillaume, ’Keramik och mollusker i trädgårdens djup’, Romhorisont 45, 2005, 18-21.<br /> <br /> ’Pompeii beneath Pompeii’, Current World Archaeology 11, 2005, 6-7. (Link)<br /> <br /> S. Turrin, ’Pompei, un sito preistorico ai piedi del Vesuvio’, Sapere.it 2005-04-29.<br /> <br /> ’Pompei discovery for Swedish archeologists’, Iranian Cultural Heritage News Agency, www.chn.ir 2005-04-18.<br /> <br /> ’Frühe Siedlungen unter Pompeji entdeckt’, Spiegel Online 2005-04-18. (Link)<br /> <br /> ’Svenskt stenåldersfynd under Pompeji’, svt.se kulturnyheterna 2005-04-15. (Link)<br /> <br /> Vetenskapsradion, ’Svenska arkeologer hittade ett Pompeji under Pompeji’, Swedish national radio P1 2005-04-15. (Link)<br /> <br /> ’Äldre Pompeji funnet’, Populär historia 2005-04-14.<br /> <br /> G. Sörbring, ’Svenskar fann stenåldrigt Pompeji’, Dagens Nyheter 2005-04-14. (Link)<br /> <br /> A.-M. Leander-Touati, ’Pompeji 2000+’, Medusa 2003:4, 2-10.<br /> <br /> M. Gierow, ’Pompeji, namn och hus’, Medusa 2003:4, 11-21.<br /> <br /> C. Pettersson, ’Kalk, sand och lacknafta. Om putsanalyser i Pompeji’, Medusa 2003:4, 22-25.<br /> <br /> H. Boman,’Staden runt ett kvarter i Pompeji’, Medusa 2003:4, 27-35.<br /> <br /> A. Karivieri, ’En affärsmans arkiv i Pompeji – vaxtavlorna från Caecilius Iucundus hus’, Medusa 2003:4, 36-43.<br /> <br /> R. Forsell, ’Hela staden gungar’, Medusa 2003:4, 44-46.<br /> <br /> T. Staub, ’Pompejanska bagerier’, Medusa 2003:4, 47-56.<br /> <br /> B. Kaussel &amp; E.M. Pinto-Guillaume, ’Att dokumentera arkitektur i Pompeji – mer än bara mätningar’, Medusa 2003:4, 57-62.<br /> <br /> M. Nisser-Dalman, ’När Pompeji kom till Dalarna’, Medusa 2003:4, 63-71.<br /> <br /> Vetenskapsradion, ’Pompeji äldre än man trott’, interview on Swedish national radio P1 with Margareta Staub Gierow 2003-11-10. (Link)<br /> <br /> Pompeji - arkeologi och erotik, documentary on Swedish national TV channel SVT 2, producer Ann Victorin, 2003-01-19. (Link to the programme in the open archive of SVT Play)<br /> <br /> T. Svanelid, ’Svenskar kartlägger Pompejis äldsta historia’, Populär historia 2002-04-18. (Link)<br /> <br /> B. Gustafson, ’Pompeji – här har arkeologer grävt i trehundra år’, Populär arkeologi 2001:3, 8-11.</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=The_Swedish_Pompeii_Project&diff=4905 2014-07-04T10:00:36Z

<p>AnnaFoka: </p> <hr /> <div>==The Swedish Pompey Project==<br /> <br /> The Swedish Pompeii Project started in 2000 as a fieldwork project initiated at the Swedish Institute in Rome. The aim was to record and analyse an entire Pompeian city-block, Insula V 1. In the recording process large quantities of data and photographs have been amassed and this is the forum we have chosen to share the collected information with those interested in the details of Pompeian houses. The presentation of each room with all its features constitutes a major part of this research platform, under the heading Documentation of Insula V 1. <br /> <br /> Some excavation took place in spots critical for the understanding of earlier phases of the city. In the course of such investigations, prehistoric (Early Bronze Age/Palma Campania) layers, including a volcanic ash layer, were encountered for the first time under Pompeii.<br /> <br /> Created to encompass all major disciplines promoted by the Swedish Institute in Rome, our research also targets a wider contextualisation of the Pompeian evidence. Pompeii Revived is the title used to shelter studies in legacy, whereas the City Gate Seminar has the ambition to discuss the validity of historical analogies as guidance for interpretation of evidence concerning everyday life in the past in a broad sense.<br /> <br /> Since autumn 2010 the project and its research is directed from the Department of Archaeology and Ancient History at Lund University.<br /> Simultaneously a new branch of advanced digital archaeology, involving 3D reconstructions and documentation methods was added to the project agenda. The insula was scanned during the field campaigns in 2011 and 2012 in collaboration with the ISTI (Istituto di Scienza e Tecnologie dell’Informazione &quot;A. Faedo&quot;) in Pisa and the Humanities Lab at Lund University. The actual work in progress, carried out by the ISTI in Pisa, consists of finding a way to navigate the models easily, &quot;naturally&quot;, and in such a way that it will be possible to freeze the image of a wall or other detail under study and link this image back to the documentation offered by this web page. The results will be presented shortly and our first 3D models are already available in open access. These are linked to the pages describing atrium and peristyle of the Casa del Torello, V 1,7.<br /> <br /> <br /> EDITORS of www.pompejiprojektet.se<br /> Anne-Marie Leander Touati, director of the Swedish Pompeii Project and its web. <br /> Henrik Boman, editor, webmaster: structure, text and image.<br /> <br /> <br /> Mats Holmlund, web designer: database administrator and technical support.<br /> <br /> Questions regarding the homepage can be addressed to Henrik Boman (henrik.boman@antiken.su.se) or Mats Holmlund (matsdholmlund@gmail.com).<br /> <br /> ==The Project==<br /> Contextualisation is a keynote concept in the design of the Swedish Pompeii Project. It recurs as a common ambition in all separate parts of the project.<br /> <br /> Fieldwork in Insula V 1<br /> The focus on context contributed to the choice of study object, a full insula instead of isolated houses, the by far more common base unit in the tradition of studies on Pompeian domestic architecture. The larger frame invites to study interrelation between the houses over time as well as the development of the separate units. When Pompeian time was arrested, Insula V 1 had known at least 250 years of urban life, during which certain moments brought major changes both in property use and in the arrangement of property boundaries. These changes should be discussed in relation to the general development of the town. Evidence related to the major events in the life of the town, proper to this insula, should be collected and commented upon, just as should all other fragments of Roman life that might still be retrieved through investigation of its ruins. The prerogative for this study is the creation of a new, accurate and thorough documentation. <br /> <br /> The City Gate Seminar<br /> In this research, the question of context is widened. One particular city environment has been chosen for study, not only in its Pompeian translations but also elsewhere, in other places and other times. In the case of Pompeian domestic architecture and the city scape in large, such historical analogies has been used as interpretative models for the use of space by Andrew Wallace-Hadrill in his Houses and Society in Pompeii and Herculaneum (1994). In Pompeji, Archäologie und Geschichte (2005), Jens-Arne Dickmann uses examples from contemporary Naples in his attempt to visualise the close coexistence of dwellings and artisans¡¯ shops. The part of the city chosen for our seminar took its point of departure in the location of Insula V 1, not by but close to the Porta Vesuvio. It seemed natural to expect that life within the insula was somehow dependent on the goings-on in the via del Vesuvio leading to and fro the Gate. Furthermore, the city gate is an important area in any ancient city, which has not been sufficiently studied neither in its own right nor in the light of comparative study. <br /> <br /> Pompeii revived<br /> The study of Pompeian afterlife aims to achieve three major results. One is to record ancient Pompeian material and Pompeian influences in Sweden from the 18th century to the present. Another is to discuss the motivation behind the references made to Pompeii in classicising architecture and interior decoration. The third is to put the Swedish experience in a larger, international context</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=The_Swedish_Pompeii_Project&diff=4904 2014-07-04T09:59:34Z

<p>AnnaFoka: Created page with &quot;==The Swedish Pompey Project== The Swedish Pompeii Project started in 2000 as a fieldwork project initiated at the Swedish Institute in Rome. The aim was to record and analys...&quot;</p> <hr /> <div>==The Swedish Pompey Project==<br /> <br /> The Swedish Pompeii Project started in 2000 as a fieldwork project initiated at the Swedish Institute in Rome. The aim was to record and analyse an entire Pompeian city-block, Insula V 1. In the recording process large quantities of data and photographs have been amassed and this is the forum we have chosen to share the collected information with those interested in the details of Pompeian houses. The presentation of each room with all its features constitutes a major part of this research platform, under the heading Documentation of Insula V 1. <br /> <br /> Some excavation took place in spots critical for the understanding of earlier phases of the city. In the course of such investigations, prehistoric (Early Bronze Age/Palma Campania) layers, including a volcanic ash layer, were encountered for the first time under Pompeii.<br /> <br /> Created to encompass all major disciplines promoted by the Swedish Institute in Rome, our research also targets a wider contextualisation of the Pompeian evidence. Pompeii Revived is the title used to shelter studies in legacy, whereas the City Gate Seminar has the ambition to discuss the validity of historical analogies as guidance for interpretation of evidence concerning everyday life in the past in a broad sense.<br /> <br /> Since autumn 2010 the project and its research is directed from the Department of Archaeology and Ancient History at Lund University.<br /> Simultaneously a new branch of advanced digital archaeology, involving 3D reconstructions and documentation methods was added to the project agenda. The insula was scanned during the field campaigns in 2011 and 2012 in collaboration with the ISTI (Istituto di Scienza e Tecnologie dell’Informazione &quot;A. Faedo&quot;) in Pisa and the Humanities Lab at Lund University. The actual work in progress, carried out by the ISTI in Pisa, consists of finding a way to navigate the models easily, &quot;naturally&quot;, and in such a way that it will be possible to freeze the image of a wall or other detail under study and link this image back to the documentation offered by this web page. The results will be presented shortly and our first 3D models are already available in open access. These are linked to the pages describing atrium and peristyle of the Casa del Torello, V 1,7.<br /> <br /> <br /> EDITORS of www.pompejiprojektet.se<br /> Anne-Marie Leander Touati, director of the Swedish Pompeii Project and its web. <br /> Henrik Boman, editor, webmaster: structure, text and image.<br /> Mats Holmlund, web designer: database administrator and technical support.<br /> <br /> Questions regarding the homepage can be addressed to Henrik Boman (henrik.boman@antiken.su.se) or Mats Holmlund (matsdholmlund@gmail.com).</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Google_Earth_Rome&diff=4903 2014-07-04T09:57:18Z

<p>AnnaFoka: /* Partners */</p> <hr /> <div>===Google Earth Rome===<br /> <br /> See Rome as it looked in 320 AD and fly down to see famous buildings and monuments in 3D. Select the &quot;Ancient Rome 3D&quot; layer under Gallery in Google Earth. Download Google Earth at http://earth.google.com/rome/<br /> <br /> <br /> ===Partners===<br /> Google<br /> <br /> The University of Virginia<br /> <br /> [[category:projects]]<br /> [[category:Cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:archaeology]]<br /> [[category:Linked open data]]<br /> <br /> == Media ==<br /> https://www.youtube.com/watch?v=MqMXIRwQniA</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Google_Earth_Rome&diff=4902 2014-07-04T09:55:28Z

<p>AnnaFoka: </p> <hr /> <div>===Google Earth Rome===<br /> <br /> See Rome as it looked in 320 AD and fly down to see famous buildings and monuments in 3D. Select the &quot;Ancient Rome 3D&quot; layer under Gallery in Google Earth. Download Google Earth at http://earth.google.com/rome/<br /> <br /> <br /> ===Partners===<br /> Google<br /> <br /> The University of Virginia<br /> <br /> <br /> == Media ==<br /> https://www.youtube.com/watch?v=MqMXIRwQniA</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Google_Earth_Rome&diff=4901 2014-07-04T09:53:22Z

<p>AnnaFoka: Created page with &quot; == Media == https://www.youtube.com/watch?v=MqMXIRwQniA&quot;</p> <hr /> <div><br /> == Media ==<br /> https://www.youtube.com/watch?v=MqMXIRwQniA</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Theatron&diff=4900 2014-07-04T09:50:17Z

<p>AnnaFoka: /* History */</p> <hr /> <div>=== History ===<br /> <br /> The THEATRON application has been produced by a European consortium including leading academic institutions, architectural and information technology specialists and part-funded by the European Commission. THEATRON represents the first serious attempt to bring the study of virtual reality computer models within the scope of a humanities subject.<br /> <br /> The Primary objective was to carry out a carefully focused programme of work, addressing the use of multi-media for teaching European theatre history.<br /> <br /> After gathering and closely evaluating examples of current needs and best practice in a variety of institutions engaged in the teaching of theatre, the consortium has created an online software application. This currently consists of 10 3D virtual architectural theatres from across Europe, with a user interface enabling students and teachers to access graphical and textual material, illustrating and exploring the history, evolution, variety and current range of theatrical practice in Europe.<br /> <br /> In addition to providing extensive primary factual information, the software allows students and teachers to access and study essential elements of theatre, such as time, space, acoustics, lighting and sightlines, which are difficult to convey using conventional teaching materials.<br /> <br /> The THEATRON Project and its outcomes have drawn widely upon diverse theatrical activity within a great many member states, contributing to the identification and preservation of cultural diversity in Europe through innovative learning systems.<br /> <br /> ===Overview===<br /> <br /> The THEATRON computer software uses a specially enhanced web browser enabling the user to navigate virtual reality reconstructions of the theatre and performance sites. In addition the user has access to a wide variety of related multimedia assets and narrative text accessible from the model and information panels. These include photographs, computer animations and 360 degree panoramas. Some of the theatre sites also have audio reconstructions, enabling the user to hear what the audience would have heard from different parts of the theatre.<br /> <br /> ===List of Theatres Currently Available in Theatron===<br /> <br /> Odeon of Agrippa, Athens, Greece. (Hellenistic &amp; Roman)<br /> · Bayreuth Festspielhaus, Bayreuth, Germany (19th Century)<br /> · Theatre of Dionysus, Athens, Greece. (Greek &amp; Hellenistic)<br /> · Drottningholm Court Theatre, Stockholm, Sweeden. (Baroque)<br /> · Drury Lane Theatre, London, England. (Baroque)<br /> · Theatre at Epidaurus, Greece. (Greek &amp; Hellenistic)<br /> · Teatro Farnese, Farnese, Italy. (Renaissance)<br /> · Globe Theatre, London, England. (Renaissance)<br /> · Hellerau Festspielhaus, Hellerau, Germany. (20th Century)<br /> · Teatro Olympico, Vicenza, Italy. (Renaissance)<br /> · Odeon of Pericles, Athens, Greece. (Greek &amp; Hellenistic)<br /> · Theatre of Pompey, Rome, Italy. (Roman)<br /> · Teatro Sabbioneta, Sabbioneta, Italy. (Renaissance)<br /> · Schaubühne Theatre, Berlin, Germany. (20th Century)<br /> · Temporary Stages:<br /> Phlyakes Stage<br /> Roman Stage<br /> Fairground Booth<br /> Medieval Pageant Wagon<br /> · Théâtre du Vieux Colombier, Paris France. (20th Century)<br /> <br /> <br /> <br /> === Website ===<br /> <br /> <br /> * http://www.theatron.org/<br /> <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Theatron&diff=4899 2014-07-04T09:48:33Z

<p>AnnaFoka: /* Website */</p> <hr /> <div>=== History ===<br /> <br /> The THEATRON application has been produced by a European consortium including leading academic institutions, architectural and information technology specialists and part-funded by the European Commission. THEATRON represents the first serious attempt to bring the study of virtual reality computer models within the scope of a humanities subject.<br /> <br /> The Primary objective was to carry out a carefully focused programme of work, addressing the use of multi-media for teaching European theatre history.<br /> <br /> After gathering and closely evaluating examples of current needs and best practice in a variety of institutions engaged in the teaching of theatre, the consortium has created an online software application. This currently consists of 10 3D virtual architectural theatres from across Europe, with a user interface enabling students and teachers to access graphical and textual material, illustrating and exploring the history, evolution, variety and current range of theatrical practice in Europe.<br /> <br /> In addition to providing extensive primary factual information, the software allows students and teachers to access and study essential elements of theatre, such as time, space, acoustics, lighting and sightlines, which are difficult to convey using conventional teaching materials.<br /> <br /> The THEATRON Project and its outcomes have drawn widely upon diverse theatrical activity within a great many member states, contributing to the identification and preservation of cultural diversity in Europe through innovative learning systems.<br /> <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Theatron&diff=4898 2014-07-04T09:48:19Z

<p>AnnaFoka: /* History */</p> <hr /> <div>=== Website ===<br /> <br /> <br /> * http://www.theatron.org/<br /> <br /> === History ===<br /> <br /> The THEATRON application has been produced by a European consortium including leading academic institutions, architectural and information technology specialists and part-funded by the European Commission. THEATRON represents the first serious attempt to bring the study of virtual reality computer models within the scope of a humanities subject.<br /> <br /> The Primary objective was to carry out a carefully focused programme of work, addressing the use of multi-media for teaching European theatre history.<br /> <br /> After gathering and closely evaluating examples of current needs and best practice in a variety of institutions engaged in the teaching of theatre, the consortium has created an online software application. This currently consists of 10 3D virtual architectural theatres from across Europe, with a user interface enabling students and teachers to access graphical and textual material, illustrating and exploring the history, evolution, variety and current range of theatrical practice in Europe.<br /> <br /> In addition to providing extensive primary factual information, the software allows students and teachers to access and study essential elements of theatre, such as time, space, acoustics, lighting and sightlines, which are difficult to convey using conventional teaching materials.<br /> <br /> The THEATRON Project and its outcomes have drawn widely upon diverse theatrical activity within a great many member states, contributing to the identification and preservation of cultural diversity in Europe through innovative learning systems.<br /> <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Theatron&diff=4897 2014-07-04T09:47:10Z

<p>AnnaFoka: /* Availibility */</p> <hr /> <div>=== Website ===<br /> <br /> <br /> * http://www.theatron.org/<br /> <br /> === History ===<br /> <br /> The THEATRON application has been produced by a European consortium including leading academic institutions, architectural and information technology specialists and part-funded by the European Commission. THEATRON represents the first serious attempt to bring the study of virtual reality computer models within the scope of a humanities subject.<br /> <br /> The Primary objective was to carry out a carefully focused programme of work, addressing the use of multi-media for teaching European theatre history.<br /> <br /> After gathering and closely evaluating examples of current needs and best practice in a variety of institutions engaged in the teaching of theatre, the consortium has created an online software application. This currently consists of 10 3D virtual architectural theatres from across Europe, with a user interface enabling students and teachers to access graphical and textual material, illustrating and exploring the history, evolution, variety and current range of theatrical practice in Europe.<br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4896 2014-07-04T09:45:32Z

<p>AnnaFoka: /* PEOPLE */</p> <hr /> <div><br /> <br /> Available online:<br /> * http://romereborn.frischerconsulting.com/<br /> <br /> <br /> <br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> == PEOPLE ==<br /> Project Director:<br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> <br /> Director of 3D Modeling, 1996-2008:<br /> Dean Abernathy, UCLA, University of Virginia<br /> <br /> Director of 3D Modeling, 2008-2013:<br /> Kim Dylla, University of Virginia<br /> <br /> Director of 3D Modeling, 2013-present:<br /> Matthew Brennan, Indiana University<br /> <br /> Director of 3D Scanning:<br /> Gabriele Guidi, Politecnico di Milano<br /> <br /> Scientific Advisors:<br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors/<br /> Hand modelers:<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modelling:<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces:<br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration:<br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project:<br /> Editor-in-chief<br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee:<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts:<br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation:<br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> Bernard Frischer, Frischer Consulting<br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> == PAPERS ==<br /> <br /> <br /> Frischer, Bernard, forthcoming. &quot; &quot;Cultural and Digital Memory: Case Studies from the Virtual World Heritage Laboratory,&quot; in Memoria Romana, edited by G. Karl Galinsky, Memoirs of the American Academy in Rome<br /> <br /> Taylor-Nelms, Lee, Lynne Kvapil, John Fillwalk, Bernard Frischer, forthcoming. &quot; &quot;Investigating the Effectiveness of Problem-Based Learning in 3D Virtual Worlds. A Preliminary Report on the Digital Hadrian's Villa Project,&quot; Proceedings of the 2012 Conference of Computing Applications to Archaeology, Southampton, UK, 26-29 March 2012.<br /> <br /> Frischer, Bernard, John Fillwalk, forthcoming. &quot; &quot;The Digital Hadrian's Villa Project. Using Virtual Worlds to Control Suspected Solar Alignments,&quot; forthcoming in Proceedings of the Annual Conference of The International Society for Virtual Systems and Multimedia 2012.<br /> <br /> Dylla, Kimberly, Bernard Frischer et al., 2010. &quot;Rome Reborn 2.0: A Case Study of Virtual City Reconstruction Using Procedural Modeling Techniques,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 62-66. <br /> <br /> Wells, Sarah, Bernard Frischer, et al., 2010. &quot;Rome Reborn in Google Earth,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 373-379. View Document <br /> <br /> Frischer, B., 2008. &quot;The Rome Reborn Project. How Technology is helping us to study history,&quot; OpEd, November 10, 2008. University of Virginia.<br /> <br /> Frischer, B. and P. Stinson, 2007. &quot;The Importance of Scientific Authentication and a Formal Visual Language in Virtual Models of Archaeological Sites: The Case of the House of Augustus and Villa of the Mysteries,&quot; in Interpreting The Past: Heritage, New Technologies and Local Development.<br /> <br /> Proceedings of the Conference on Authenticity, Intellectual Integrity and Sustainable Development of the Public Presentation of Archaeological and Historical Sites and Landscapes, Ghent, East-Flanders, 11-13 September 2002. Flemish Heritage Institute, Ename Center for Public Archaeology and Heritage Presentation. 2007, Brussels, Belgium. <br /> <br /> Frischer, B., 2006. &quot;New Directions for Cultural Virtual Reality: A Global Strategy for Archiving, Serving, and Exhibiting 3D Computer Models of Cultural Heritage Sites,&quot; in Proceedings of the Conference, Virtual Retrospect 2005 (Bordeaux), 168-175. <br /> <br /> Frischer, B., D. Abernathy, F.C. Giuliani, R. Scott, H. Ziemssen, 2006. &quot;A New Digital Model of the Roman Forum,&quot; in &quot;Imaging Ancient Rome. Documentation-Visualization-Imagination,&quot; edited by Lothar Haselberger and John Humphrey, Journal of Roman Archaeology, Supplementary Series 61, 163-182.<br /> <br /> Guidi, G., B. Frischer, et al., 2005. &quot;Virtualizing Ancient Rome: 3D Acquisition and Modeling of a Large Plaster-of-Paris Model of Imperial Rome,&quot; Videometrics VIII, edited by J.-Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, James S. Walton, 18-20 January 2005, San Jose, California, USA, SPIE, vol. 5665, 119-133. <br /> <br /> Frischer, B., 2005. &quot;The Digital Roman Forum Project: Remediating the Traditions of Roman Topography,&quot; in Acts of the 2nd Italy-United States Workshop, Rome, Italy, November 3-5, 2003, Berkeley, USA, May, 2005 edited by M. Forte, BAR International Series 1379 (Oxford 2005) 9-21. <br /> <br /> <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4895 2014-07-04T09:45:11Z

<p>AnnaFoka: /* PEOPLE */</p> <hr /> <div><br /> <br /> Available online:<br /> * http://romereborn.frischerconsulting.com/<br /> <br /> <br /> <br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> == PEOPLE ==<br /> Project Director:<br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> <br /> Director of 3D Modeling, 1996-2008:<br /> Dean Abernathy, UCLA, University of Virginia<br /> <br /> Director of 3D Modeling, 2008-2013:<br /> Kim Dylla, University of Virginia<br /> <br /> Director of 3D Modeling, 2013-present:<br /> Matthew Brennan, Indiana University<br /> <br /> Director of 3D Scanning:<br /> Gabriele Guidi, Politecnico di Milano<br /> <br /> Scientific Advisors:<br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors/<br /> Hand modelers:<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modelling:<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces:<br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration:<br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project:<br /> Editor-in-chief<br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee:<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts:<br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation:<br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> Bernard Frischer, Frischer Consulting<br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> == PAPERS ==<br /> <br /> <br /> Frischer, Bernard, forthcoming. &quot; &quot;Cultural and Digital Memory: Case Studies from the Virtual World Heritage Laboratory,&quot; in Memoria Romana, edited by G. Karl Galinsky, Memoirs of the American Academy in Rome<br /> <br /> Taylor-Nelms, Lee, Lynne Kvapil, John Fillwalk, Bernard Frischer, forthcoming. &quot; &quot;Investigating the Effectiveness of Problem-Based Learning in 3D Virtual Worlds. A Preliminary Report on the Digital Hadrian's Villa Project,&quot; Proceedings of the 2012 Conference of Computing Applications to Archaeology, Southampton, UK, 26-29 March 2012.<br /> <br /> Frischer, Bernard, John Fillwalk, forthcoming. &quot; &quot;The Digital Hadrian's Villa Project. Using Virtual Worlds to Control Suspected Solar Alignments,&quot; forthcoming in Proceedings of the Annual Conference of The International Society for Virtual Systems and Multimedia 2012.<br /> <br /> Dylla, Kimberly, Bernard Frischer et al., 2010. &quot;Rome Reborn 2.0: A Case Study of Virtual City Reconstruction Using Procedural Modeling Techniques,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 62-66. <br /> <br /> Wells, Sarah, Bernard Frischer, et al., 2010. &quot;Rome Reborn in Google Earth,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 373-379. View Document <br /> <br /> Frischer, B., 2008. &quot;The Rome Reborn Project. How Technology is helping us to study history,&quot; OpEd, November 10, 2008. University of Virginia.<br /> <br /> Frischer, B. and P. Stinson, 2007. &quot;The Importance of Scientific Authentication and a Formal Visual Language in Virtual Models of Archaeological Sites: The Case of the House of Augustus and Villa of the Mysteries,&quot; in Interpreting The Past: Heritage, New Technologies and Local Development.<br /> <br /> Proceedings of the Conference on Authenticity, Intellectual Integrity and Sustainable Development of the Public Presentation of Archaeological and Historical Sites and Landscapes, Ghent, East-Flanders, 11-13 September 2002. Flemish Heritage Institute, Ename Center for Public Archaeology and Heritage Presentation. 2007, Brussels, Belgium. <br /> <br /> Frischer, B., 2006. &quot;New Directions for Cultural Virtual Reality: A Global Strategy for Archiving, Serving, and Exhibiting 3D Computer Models of Cultural Heritage Sites,&quot; in Proceedings of the Conference, Virtual Retrospect 2005 (Bordeaux), 168-175. <br /> <br /> Frischer, B., D. Abernathy, F.C. Giuliani, R. Scott, H. Ziemssen, 2006. &quot;A New Digital Model of the Roman Forum,&quot; in &quot;Imaging Ancient Rome. Documentation-Visualization-Imagination,&quot; edited by Lothar Haselberger and John Humphrey, Journal of Roman Archaeology, Supplementary Series 61, 163-182.<br /> <br /> Guidi, G., B. Frischer, et al., 2005. &quot;Virtualizing Ancient Rome: 3D Acquisition and Modeling of a Large Plaster-of-Paris Model of Imperial Rome,&quot; Videometrics VIII, edited by J.-Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, James S. Walton, 18-20 January 2005, San Jose, California, USA, SPIE, vol. 5665, 119-133. <br /> <br /> Frischer, B., 2005. &quot;The Digital Roman Forum Project: Remediating the Traditions of Roman Topography,&quot; in Acts of the 2nd Italy-United States Workshop, Rome, Italy, November 3-5, 2003, Berkeley, USA, May, 2005 edited by M. Forte, BAR International Series 1379 (Oxford 2005) 9-21. <br /> <br /> <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4894 2014-07-04T09:44:36Z

<p>AnnaFoka: /* PEOPLE */</p> <hr /> <div><br /> <br /> Available online:<br /> * http://romereborn.frischerconsulting.com/<br /> <br /> <br /> <br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> == PEOPLE ==<br /> Project Director:<br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> <br /> Director of 3D Modeling, 1996-2008:<br /> Dean Abernathy, UCLA, University of Virginia<br /> <br /> Director of 3D Modeling, 2008-2013:<br /> Kim Dylla, University of Virginia<br /> <br /> Director of 3D Modeling, 2013-present:<br /> Matthew Brennan, Indiana University<br /> <br /> Director of 3D Scanning:<br /> Gabriele Guidi, Politecnico di Milano<br /> <br /> Scientific Advisors:<br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors/<br /> Hand modelers:<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modelling:<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces:<br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration:<br /> <br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project:<br /> Editor-in-chief<br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee:<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts:<br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation:<br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> Bernard Frischer, Frischer Consulting<br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> == PAPERS ==<br /> <br /> <br /> Frischer, Bernard, forthcoming. &quot; &quot;Cultural and Digital Memory: Case Studies from the Virtual World Heritage Laboratory,&quot; in Memoria Romana, edited by G. Karl Galinsky, Memoirs of the American Academy in Rome<br /> <br /> Taylor-Nelms, Lee, Lynne Kvapil, John Fillwalk, Bernard Frischer, forthcoming. &quot; &quot;Investigating the Effectiveness of Problem-Based Learning in 3D Virtual Worlds. A Preliminary Report on the Digital Hadrian's Villa Project,&quot; Proceedings of the 2012 Conference of Computing Applications to Archaeology, Southampton, UK, 26-29 March 2012.<br /> <br /> Frischer, Bernard, John Fillwalk, forthcoming. &quot; &quot;The Digital Hadrian's Villa Project. Using Virtual Worlds to Control Suspected Solar Alignments,&quot; forthcoming in Proceedings of the Annual Conference of The International Society for Virtual Systems and Multimedia 2012.<br /> <br /> Dylla, Kimberly, Bernard Frischer et al., 2010. &quot;Rome Reborn 2.0: A Case Study of Virtual City Reconstruction Using Procedural Modeling Techniques,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 62-66. <br /> <br /> Wells, Sarah, Bernard Frischer, et al., 2010. &quot;Rome Reborn in Google Earth,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 373-379. View Document <br /> <br /> Frischer, B., 2008. &quot;The Rome Reborn Project. How Technology is helping us to study history,&quot; OpEd, November 10, 2008. University of Virginia.<br /> <br /> Frischer, B. and P. Stinson, 2007. &quot;The Importance of Scientific Authentication and a Formal Visual Language in Virtual Models of Archaeological Sites: The Case of the House of Augustus and Villa of the Mysteries,&quot; in Interpreting The Past: Heritage, New Technologies and Local Development.<br /> <br /> Proceedings of the Conference on Authenticity, Intellectual Integrity and Sustainable Development of the Public Presentation of Archaeological and Historical Sites and Landscapes, Ghent, East-Flanders, 11-13 September 2002. Flemish Heritage Institute, Ename Center for Public Archaeology and Heritage Presentation. 2007, Brussels, Belgium. <br /> <br /> Frischer, B., 2006. &quot;New Directions for Cultural Virtual Reality: A Global Strategy for Archiving, Serving, and Exhibiting 3D Computer Models of Cultural Heritage Sites,&quot; in Proceedings of the Conference, Virtual Retrospect 2005 (Bordeaux), 168-175. <br /> <br /> Frischer, B., D. Abernathy, F.C. Giuliani, R. Scott, H. Ziemssen, 2006. &quot;A New Digital Model of the Roman Forum,&quot; in &quot;Imaging Ancient Rome. Documentation-Visualization-Imagination,&quot; edited by Lothar Haselberger and John Humphrey, Journal of Roman Archaeology, Supplementary Series 61, 163-182.<br /> <br /> Guidi, G., B. Frischer, et al., 2005. &quot;Virtualizing Ancient Rome: 3D Acquisition and Modeling of a Large Plaster-of-Paris Model of Imperial Rome,&quot; Videometrics VIII, edited by J.-Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, James S. Walton, 18-20 January 2005, San Jose, California, USA, SPIE, vol. 5665, 119-133. <br /> <br /> Frischer, B., 2005. &quot;The Digital Roman Forum Project: Remediating the Traditions of Roman Topography,&quot; in Acts of the 2nd Italy-United States Workshop, Rome, Italy, November 3-5, 2003, Berkeley, USA, May, 2005 edited by M. Forte, BAR International Series 1379 (Oxford 2005) 9-21. <br /> <br /> <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4893 2014-07-04T09:43:21Z

<p>AnnaFoka: /* PEOPLE */</p> <hr /> <div><br /> <br /> Available online:<br /> * http://romereborn.frischerconsulting.com/<br /> <br /> <br /> <br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> == PEOPLE ==<br /> Project Director<br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> <br /> Director of 3D Modeling, 1996-2008<br /> Dean Abernathy, UCLA, University of Virginia<br /> <br /> Director of 3D Modeling, 2008-2013<br /> Kim Dylla, University of Virginia<br /> <br /> Director of 3D Modeling, 2013-<br /> Matthew Brennan, Indiana University<br /> <br /> Director of 3D Scanning<br /> Gabriele Guidi, Politecnico di Milano<br /> <br /> Scientific Advisors<br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors<br /> Hand modelers<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modeling<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces<br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration<br /> <br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project<br /> Editor-in-chief<br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts<br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation<br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> Bernard Frischer, Frischer Consulting<br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> == PAPERS ==<br /> <br /> <br /> Frischer, Bernard, forthcoming. &quot; &quot;Cultural and Digital Memory: Case Studies from the Virtual World Heritage Laboratory,&quot; in Memoria Romana, edited by G. Karl Galinsky, Memoirs of the American Academy in Rome<br /> <br /> Taylor-Nelms, Lee, Lynne Kvapil, John Fillwalk, Bernard Frischer, forthcoming. &quot; &quot;Investigating the Effectiveness of Problem-Based Learning in 3D Virtual Worlds. A Preliminary Report on the Digital Hadrian's Villa Project,&quot; Proceedings of the 2012 Conference of Computing Applications to Archaeology, Southampton, UK, 26-29 March 2012.<br /> <br /> Frischer, Bernard, John Fillwalk, forthcoming. &quot; &quot;The Digital Hadrian's Villa Project. Using Virtual Worlds to Control Suspected Solar Alignments,&quot; forthcoming in Proceedings of the Annual Conference of The International Society for Virtual Systems and Multimedia 2012.<br /> <br /> Dylla, Kimberly, Bernard Frischer et al., 2010. &quot;Rome Reborn 2.0: A Case Study of Virtual City Reconstruction Using Procedural Modeling Techniques,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 62-66. <br /> <br /> Wells, Sarah, Bernard Frischer, et al., 2010. &quot;Rome Reborn in Google Earth,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 373-379. View Document <br /> <br /> Frischer, B., 2008. &quot;The Rome Reborn Project. How Technology is helping us to study history,&quot; OpEd, November 10, 2008. University of Virginia.<br /> <br /> Frischer, B. and P. Stinson, 2007. &quot;The Importance of Scientific Authentication and a Formal Visual Language in Virtual Models of Archaeological Sites: The Case of the House of Augustus and Villa of the Mysteries,&quot; in Interpreting The Past: Heritage, New Technologies and Local Development.<br /> <br /> Proceedings of the Conference on Authenticity, Intellectual Integrity and Sustainable Development of the Public Presentation of Archaeological and Historical Sites and Landscapes, Ghent, East-Flanders, 11-13 September 2002. Flemish Heritage Institute, Ename Center for Public Archaeology and Heritage Presentation. 2007, Brussels, Belgium. <br /> <br /> Frischer, B., 2006. &quot;New Directions for Cultural Virtual Reality: A Global Strategy for Archiving, Serving, and Exhibiting 3D Computer Models of Cultural Heritage Sites,&quot; in Proceedings of the Conference, Virtual Retrospect 2005 (Bordeaux), 168-175. <br /> <br /> Frischer, B., D. Abernathy, F.C. Giuliani, R. Scott, H. Ziemssen, 2006. &quot;A New Digital Model of the Roman Forum,&quot; in &quot;Imaging Ancient Rome. Documentation-Visualization-Imagination,&quot; edited by Lothar Haselberger and John Humphrey, Journal of Roman Archaeology, Supplementary Series 61, 163-182.<br /> <br /> Guidi, G., B. Frischer, et al., 2005. &quot;Virtualizing Ancient Rome: 3D Acquisition and Modeling of a Large Plaster-of-Paris Model of Imperial Rome,&quot; Videometrics VIII, edited by J.-Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, James S. Walton, 18-20 January 2005, San Jose, California, USA, SPIE, vol. 5665, 119-133. <br /> <br /> Frischer, B., 2005. &quot;The Digital Roman Forum Project: Remediating the Traditions of Roman Topography,&quot; in Acts of the 2nd Italy-United States Workshop, Rome, Italy, November 3-5, 2003, Berkeley, USA, May, 2005 edited by M. Forte, BAR International Series 1379 (Oxford 2005) 9-21. <br /> <br /> <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4892 2014-07-04T09:37:30Z

<p>AnnaFoka: /* PAPERS */</p> <hr /> <div><br /> <br /> Available online:<br /> * http://romereborn.frischerconsulting.com/<br /> <br /> <br /> <br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> == PEOPLE ==<br /> Project Director<br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> Director of 3D Modeling, 1996-2008<br /> Dean Abernathy, UCLA, University of Virginia<br /> Director of 3D Modeling, 2008-2013<br /> Kim Dylla, University of Virginia<br /> Director of 3D Modeling, 2013-<br /> Matthew Brennan, Indiana University<br /> Director of 3D Scanning<br /> Gabriele Guidi, Politecnico di Milano<br /> Scientific Advisors<br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors<br /> Hand modelers<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modeling<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces<br /> <br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration<br /> <br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project<br /> Editor-in-chief<br /> <br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts<br /> <br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation<br /> <br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> <br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> <br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> <br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> <br /> Bernard Frischer, Frischer Consulting<br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> == PAPERS ==<br /> <br /> <br /> Frischer, Bernard, forthcoming. &quot; &quot;Cultural and Digital Memory: Case Studies from the Virtual World Heritage Laboratory,&quot; in Memoria Romana, edited by G. Karl Galinsky, Memoirs of the American Academy in Rome<br /> <br /> Taylor-Nelms, Lee, Lynne Kvapil, John Fillwalk, Bernard Frischer, forthcoming. &quot; &quot;Investigating the Effectiveness of Problem-Based Learning in 3D Virtual Worlds. A Preliminary Report on the Digital Hadrian's Villa Project,&quot; Proceedings of the 2012 Conference of Computing Applications to Archaeology, Southampton, UK, 26-29 March 2012.<br /> <br /> Frischer, Bernard, John Fillwalk, forthcoming. &quot; &quot;The Digital Hadrian's Villa Project. Using Virtual Worlds to Control Suspected Solar Alignments,&quot; forthcoming in Proceedings of the Annual Conference of The International Society for Virtual Systems and Multimedia 2012.<br /> <br /> Dylla, Kimberly, Bernard Frischer et al., 2010. &quot;Rome Reborn 2.0: A Case Study of Virtual City Reconstruction Using Procedural Modeling Techniques,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 62-66. <br /> <br /> Wells, Sarah, Bernard Frischer, et al., 2010. &quot;Rome Reborn in Google Earth,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 373-379. View Document <br /> <br /> Frischer, B., 2008. &quot;The Rome Reborn Project. How Technology is helping us to study history,&quot; OpEd, November 10, 2008. University of Virginia.<br /> <br /> Frischer, B. and P. Stinson, 2007. &quot;The Importance of Scientific Authentication and a Formal Visual Language in Virtual Models of Archaeological Sites: The Case of the House of Augustus and Villa of the Mysteries,&quot; in Interpreting The Past: Heritage, New Technologies and Local Development.<br /> <br /> Proceedings of the Conference on Authenticity, Intellectual Integrity and Sustainable Development of the Public Presentation of Archaeological and Historical Sites and Landscapes, Ghent, East-Flanders, 11-13 September 2002. Flemish Heritage Institute, Ename Center for Public Archaeology and Heritage Presentation. 2007, Brussels, Belgium. <br /> <br /> Frischer, B., 2006. &quot;New Directions for Cultural Virtual Reality: A Global Strategy for Archiving, Serving, and Exhibiting 3D Computer Models of Cultural Heritage Sites,&quot; in Proceedings of the Conference, Virtual Retrospect 2005 (Bordeaux), 168-175. <br /> <br /> Frischer, B., D. Abernathy, F.C. Giuliani, R. Scott, H. Ziemssen, 2006. &quot;A New Digital Model of the Roman Forum,&quot; in &quot;Imaging Ancient Rome. Documentation-Visualization-Imagination,&quot; edited by Lothar Haselberger and John Humphrey, Journal of Roman Archaeology, Supplementary Series 61, 163-182.<br /> <br /> Guidi, G., B. Frischer, et al., 2005. &quot;Virtualizing Ancient Rome: 3D Acquisition and Modeling of a Large Plaster-of-Paris Model of Imperial Rome,&quot; Videometrics VIII, edited by J.-Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, James S. Walton, 18-20 January 2005, San Jose, California, USA, SPIE, vol. 5665, 119-133. <br /> <br /> Frischer, B., 2005. &quot;The Digital Roman Forum Project: Remediating the Traditions of Roman Topography,&quot; in Acts of the 2nd Italy-United States Workshop, Rome, Italy, November 3-5, 2003, Berkeley, USA, May, 2005 edited by M. Forte, BAR International Series 1379 (Oxford 2005) 9-21. <br /> <br /> <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4891 2014-07-04T09:35:54Z

<p>AnnaFoka: /* PEOPLE */</p> <hr /> <div><br /> <br /> Available online:<br /> * http://romereborn.frischerconsulting.com/<br /> <br /> <br /> <br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> == PEOPLE ==<br /> Project Director<br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> Director of 3D Modeling, 1996-2008<br /> Dean Abernathy, UCLA, University of Virginia<br /> Director of 3D Modeling, 2008-2013<br /> Kim Dylla, University of Virginia<br /> Director of 3D Modeling, 2013-<br /> Matthew Brennan, Indiana University<br /> Director of 3D Scanning<br /> Gabriele Guidi, Politecnico di Milano<br /> Scientific Advisors<br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors<br /> Hand modelers<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modeling<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces<br /> <br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration<br /> <br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project<br /> Editor-in-chief<br /> <br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts<br /> <br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation<br /> <br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> <br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> <br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> <br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> <br /> Bernard Frischer, Frischer Consulting<br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> == PAPERS ==<br /> <br /> <br /> Frischer, Bernard, forthcoming. &quot; &quot;Cultural and Digital Memory: Case Studies from the Virtual World Heritage Laboratory,&quot; in Memoria Romana, edited by G. Karl Galinsky, Memoirs of the American Academy in Rome<br /> <br /> Taylor-Nelms, Lee, Lynne Kvapil, John Fillwalk, Bernard Frischer, forthcoming. &quot; &quot;Investigating the Effectiveness of Problem-Based Learning in 3D Virtual Worlds. A Preliminary Report on the Digital Hadrian's Villa Project,&quot; Proceedings of the 2012 Conference of Computing Applications to Archaeology, Southampton, UK, 26-29 March 2012.<br /> <br /> Frischer, Bernard, John Fillwalk, forthcoming. &quot; &quot;The Digital Hadrian's Villa Project. Using Virtual Worlds to Control Suspected Solar Alignments,&quot; forthcoming in Proceedings of the Annual Conference of The International Society for Virtual Systems and Multimedia 2012.<br /> <br /> Dylla, Kimberly, Bernard Frischer et al., 2010. &quot;Rome Reborn 2.0: A Case Study of Virtual City Reconstruction Using Procedural Modeling Techniques,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 62-66. <br /> <br /> Wells, Sarah, Bernard Frischer, et al., 2010. &quot;Rome Reborn in Google Earth,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 373-379. View Document <br /> <br /> Frischer, B., 2008. &quot;The Rome Reborn Project. How Technology is helping us to study history,&quot; OpEd, November 10, 2008. University of Virginia.<br /> <br /> Frischer, B. and P. Stinson, 2007. &quot;The Importance of Scientific Authentication and a Formal Visual Language in Virtual Models of Archaeological Sites: The Case of the House of Augustus and Villa of the Mysteries,&quot; in Interpreting The Past: Heritage, New Technologies and Local Development.<br /> <br /> Proceedings of the Conference on Authenticity, Intellectual Integrity and Sustainable Development of the Public Presentation of Archaeological and Historical Sites and Landscapes, Ghent, East-Flanders, 11-13 September 2002. Flemish Heritage Institute, Ename Center for Public Archaeology and Heritage Presentation. 2007, Brussels, Belgium. <br /> <br /> Frischer, B., 2006. &quot;New Directions for Cultural Virtual Reality: A Global Strategy for Archiving, Serving, and Exhibiting 3D Computer Models of Cultural Heritage Sites,&quot; in Proceedings of the Conference, Virtual Retrospect 2005 (Bordeaux), 168-175. <br /> <br /> Frischer, B., D. Abernathy, F.C. Giuliani, R. Scott, H. Ziemssen, 2006. &quot;A New Digital Model of the Roman Forum,&quot; in &quot;Imaging Ancient Rome. Documentation-Visualization-Imagination,&quot; edited by Lothar Haselberger and John Humphrey, Journal of Roman Archaeology, Supplementary Series 61, 163-182.<br /> <br /> Guidi, G., B. Frischer, et al., 2005. &quot;Virtualizing Ancient Rome: 3D Acquisition and Modeling of a Large Plaster-of-Paris Model of Imperial Rome,&quot; Videometrics VIII, edited by J.-Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, James S. Walton, 18-20 January 2005, San Jose, California, USA, SPIE, vol. 5665, 119-133. <br /> <br /> Frischer, B., 2005. &quot;The Digital Roman Forum Project: Remediating the Traditions of Roman Topography,&quot; in Acts of the 2nd Italy-United States Workshop, Rome, Italy, November 3-5, 2003, Berkeley, USA, May, 2005 edited by M. Forte, BAR International Series 1379 (Oxford 2005) 9-21. <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4890 2014-07-04T09:17:46Z

<p>AnnaFoka: /* PEOPLE */</p> <hr /> <div><br /> <br /> Available online:<br /> * http://romereborn.frischerconsulting.com/<br /> <br /> <br /> <br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> == PEOPLE ==<br /> Project Director<br /> <br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> <br /> Director of 3D Modeling, 1996-2008<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> <br /> Director of 3D Modeling, 2008-2013<br /> <br /> Kim Dylla, University of Virginia<br /> <br /> Director of 3D Modeling, 2013-<br /> <br /> Matthew Brennan, Indiana University<br /> <br /> Director of 3D Scanning<br /> <br /> Gabriele Guidi, Politecnico di Milano<br /> <br /> Scientific Advisors<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors<br /> Hand modelers<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modeling<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces<br /> <br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration<br /> <br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project<br /> Editor-in-chief<br /> <br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts<br /> <br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation<br /> <br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> <br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> <br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> <br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> <br /> Bernard Frischer, Frischer Consulting<br /> <br /> About<br /> Current Version<br /> Archive<br /> Related Websites<br /> Project News<br /> Gallery<br /> Current Version<br /> Archive<br /> People<br /> Papers<br /> Press<br /> Media Coverage<br /> For Journalists<br /> Contact<br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> == PAPERS ==<br /> <br /> <br /> Frischer, Bernard, forthcoming. &quot; &quot;Cultural and Digital Memory: Case Studies from the Virtual World Heritage Laboratory,&quot; in Memoria Romana, edited by G. Karl Galinsky, Memoirs of the American Academy in Rome<br /> <br /> Taylor-Nelms, Lee, Lynne Kvapil, John Fillwalk, Bernard Frischer, forthcoming. &quot; &quot;Investigating the Effectiveness of Problem-Based Learning in 3D Virtual Worlds. A Preliminary Report on the Digital Hadrian's Villa Project,&quot; Proceedings of the 2012 Conference of Computing Applications to Archaeology, Southampton, UK, 26-29 March 2012.<br /> <br /> Frischer, Bernard, John Fillwalk, forthcoming. &quot; &quot;The Digital Hadrian's Villa Project. Using Virtual Worlds to Control Suspected Solar Alignments,&quot; forthcoming in Proceedings of the Annual Conference of The International Society for Virtual Systems and Multimedia 2012.<br /> <br /> Dylla, Kimberly, Bernard Frischer et al., 2010. &quot;Rome Reborn 2.0: A Case Study of Virtual City Reconstruction Using Procedural Modeling Techniques,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 62-66. <br /> <br /> Wells, Sarah, Bernard Frischer, et al., 2010. &quot;Rome Reborn in Google Earth,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 373-379. View Document <br /> <br /> Frischer, B., 2008. &quot;The Rome Reborn Project. How Technology is helping us to study history,&quot; OpEd, November 10, 2008. University of Virginia.<br /> <br /> Frischer, B. and P. Stinson, 2007. &quot;The Importance of Scientific Authentication and a Formal Visual Language in Virtual Models of Archaeological Sites: The Case of the House of Augustus and Villa of the Mysteries,&quot; in Interpreting The Past: Heritage, New Technologies and Local Development.<br /> <br /> Proceedings of the Conference on Authenticity, Intellectual Integrity and Sustainable Development of the Public Presentation of Archaeological and Historical Sites and Landscapes, Ghent, East-Flanders, 11-13 September 2002. Flemish Heritage Institute, Ename Center for Public Archaeology and Heritage Presentation. 2007, Brussels, Belgium. <br /> <br /> Frischer, B., 2006. &quot;New Directions for Cultural Virtual Reality: A Global Strategy for Archiving, Serving, and Exhibiting 3D Computer Models of Cultural Heritage Sites,&quot; in Proceedings of the Conference, Virtual Retrospect 2005 (Bordeaux), 168-175. <br /> <br /> Frischer, B., D. Abernathy, F.C. Giuliani, R. Scott, H. Ziemssen, 2006. &quot;A New Digital Model of the Roman Forum,&quot; in &quot;Imaging Ancient Rome. Documentation-Visualization-Imagination,&quot; edited by Lothar Haselberger and John Humphrey, Journal of Roman Archaeology, Supplementary Series 61, 163-182.<br /> <br /> Guidi, G., B. Frischer, et al., 2005. &quot;Virtualizing Ancient Rome: 3D Acquisition and Modeling of a Large Plaster-of-Paris Model of Imperial Rome,&quot; Videometrics VIII, edited by J.-Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, James S. Walton, 18-20 January 2005, San Jose, California, USA, SPIE, vol. 5665, 119-133. <br /> <br /> Frischer, B., 2005. &quot;The Digital Roman Forum Project: Remediating the Traditions of Roman Topography,&quot; in Acts of the 2nd Italy-United States Workshop, Rome, Italy, November 3-5, 2003, Berkeley, USA, May, 2005 edited by M. Forte, BAR International Series 1379 (Oxford 2005) 9-21. <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=User:AnnaFoka&diff=4887 2014-07-02T19:42:54Z

<p>AnnaFoka: </p> <hr /> <div><br /> == Bio ==<br /> Anna Foka is an Associate Senior Lecturer at HUMlab, Umeå University, Sweden.<br /> She defended her PhD thesis in ancient Greek comedy and the construction of Greek identity in extant texts and fragments (Liverpool 2010). She holds an MA in Classics and Ancient History (Liverpool 2006), and a 4-year MA degree in Theatre and Performance Studies (NCU Athens 2003). Prior to her current position, she held a post-doctoral research fellowship at the Umeå Centre for Gender Studies (UCGS) in collaboration with the school of Histories and Cultures (Umeå University). She has previously held lecturing positions in several institutions in the UK (Manchester and Liverpool University). <br /> <br /> Her broad research interests include cultural and social history, history for different frames, constructions and perceptions of socio- cultural identities, historical concepts of gender and sexuality, and the relationship between historical culture(s) and contemporaneity. She has published in the fields of gender and humour in Graeco-Roman culture, the reception of antiquity in popular culture, and digital history. <br /> <br /> Anna Foka is the co-founder (alongside Viktor Arvidsson) of the international research network Digital Gender that is funded by Riksbankens Jubileumsfond. She is also a member of the Digital Classicist community, actively involved in the Digital Classicist Wiki Sprint (2014- beyond) and undertaking several tasks including correcting web pages, suggesting new projects, adding pages to the Wiki, helping others with information and background, approaching project leaders to suggest adding or improving information. Anna is also a member of the Umeå Group for Premodern Studies, organizing the group’s outreach activities for 2014, including public talks in the context of Umeå as a European capital of culture. <br /> <br /> Prior to her academic carreer she worked as an editor for the largest independent American publisher for Greek and Latin textbooks (Bolchazy- Carducci Publishers), wrote game reviews for PS magazine (Athens), and enjoyed the occasional freedom of travelling, playing keyboards and drums for unknown bands, and releasing her inner geek in MMORPG gaming. <br /> <br /> For her current project, Digital Bread and Circuses (part of 2013-2017) Anna Foka is constructing conceptual digital prototypes of the Roman amphitheatre and Greek theatre. The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Anna Foka aims to provide researchers with a deeper understanding of ancient entertainment, beyond space, materiality, and narratives, both as situated socio-cultural topoi and historical artifacts. She suggests an expansion in the use of expressive and interpretative media, as well as the integration of different kinds of knowledge: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an ancient entertainment space. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can generate further knowledge.<br /> <br /> == Websites ==<br /> <br /> * Institutional Website: <br /> http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> *Personal Website: <br /> http://www.annafoka.com/</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=User:AnnaFoka&diff=4886 2014-07-02T19:42:23Z

<p>AnnaFoka: </p> <hr /> <div><br /> == Bio ==<br /> Anna Foka is an Associate Senior Lecturer at HUMlab, Umeå University, Sweden.<br /> She defended her PhD thesis in ancient Greek comedy and the construction of Greek identity in extant texts and fragments (Liverpool 2010). She holds an MA in Classics and Ancient History (Liverpool 2006), and a 4-year MA degree in Theatre and Performance Studies (NCU Athens 2003). Prior to her current position, she held a post-doctoral research fellowship at the Umeå Centre for Gender Studies (UCGS) in collaboration with the school of Histories and Cultures (Umeå University). She has previously held lecturing positions in several institutions in the UK (Manchester and Liverpool University). <br /> <br /> Her broad research interests include cultural and social history, history for different frames, constructions and perceptions of socio- cultural identities, historical concepts of gender and sexuality, and the relationship between historical culture(s) and contemporaneity. She has published in the fields of gender and humour in Graeco-Roman culture, the reception of antiquity in popular culture, and digital history. <br /> <br /> Anna Foka is the co-founder (alongside Viktor Arvidsson) of the international research network Digital Gender that is funded by Riksbankens Jubileumsfond. She is also a member of the Digital Classicist community, actively involved in the Digital Classicist Wiki Sprint (2014- beyond) and undertaking several tasks including correcting web pages, suggesting new projects, adding pages to the Wiki, helping others with information and background, approaching project leaders to suggest adding or improving information. Anna is also a member of the Umeå Group for Premodern Studies, organizing the group’s outreach activities for 2014, including public talks in the context of Umeå as a European capital of culture. <br /> <br /> Prior to her academic carreer she worked as an editor for the largest independent American publisher for Greek and Latin textbooks (Bolchazy- Carducci Publishers), wrote game reviews for PS magazine (Athens), and enjoyed the occasional freedom of travelling, playing keyboards and drums for unknown bands, and releasing her inner geek in MMORPG gaming. <br /> <br /> For her current project, Digital Bread and Circuses (part of 2013-2017) Anna Foka is constructing conceptual digital prototypes of the Roman amphitheatre and Greek theatre. The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Anna Foka aims to provide researchers with a deeper understanding of ancient entertainment, beyond space, materiality, and narratives, both as situated socio-cultural topoi and historical artifacts. She suggests an expansion in the use of expressive and interpretative media, as well as the integration of different kinds of knowledge: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an ancient entertainment space. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can generate further knowledge.<br /> <br /> <br /> == Recent Publications ==<br /> <br /> <br /> <br /> == Websites ==<br /> <br /> * Institutional Website: <br /> http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> *Personal Website: <br /> http://www.annafoka.com/</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=User:AnnaFoka&diff=4885 2014-07-02T19:37:37Z

<p>AnnaFoka: </p> <hr /> <div><br /> == Bio ==<br /> Anna Foka is an Associate Senior Lecturer at HUMlab, Umeå University, Sweden.<br /> She defended her PhD thesis in ancient Greek comedy and the construction of Greek identity in extant texts and fragments (Liverpool 2010). She holds an MA in Classics and Ancient History (Liverpool 2006), and a 4-year MA degree in Theatre and Performance Studies (NCU Athens 2003). Prior to her current position, she held a post-doctoral research fellowship at the Umeå Centre for Gender Studies (UCGS) in collaboration with the school of Histories and Cultures (Umeå University). She has previously held lecturing positions in several institutions in the UK (Manchester and Liverpool University). <br /> Her broad research interests include cultural and social history, history for different frames, constructions and perceptions of socio- cultural identities, historical concepts of gender and sexuality, and the relationship between historical culture(s) and contemporaneity. She has published in the fields of gender and humour in Graeco-Roman culture, the reception of antiquity in popular culture, and digital history. <br /> Anna Foka is a co-founder (alongside Viktor Arvidsson) of the international research network Digital Gender that is funded by Riksbankens Jubileumsfond. She is also a member of the Digital Classicist community, actively involved in the Digital Classicist Wiki Sprint (2014- beyond) and undertaking several tasks including correcting web pages, suggesting new projects, adding pages to the Wiki, helping others with information and background, approaching project leaders to suggest adding or improving information. Anna is also a member of the Umeå Group for Premodern Studies, organizing the group’s outreach activities for 2014, including public talks in the context of Umeå as a European capital of culture. <br /> Prior to her academic carreer she worked as an editor for the largest independent American publisher for Greek and Latin textbooks (Bolchazy- Carducci Publishers), wrote game reviews for PS magazine (Athens), and enjoyed the occasional freedom of travelling, playing keyboards and drums for unknown bands, and releasing her inner geek in MMORPG gaming. <br /> For her current project, Digital Bread and Circuses (part of 2013-2017) Anna Foka is constructing conceptual digital prototypes of the Roman amphitheatre and Greek theatre. The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> Anna Foka aims to provide researchers with a deeper understanding of ancient entertainment, beyond space, materiality, and narratives, both as situated socio-cultural topoi and historical artifacts. She suggests an expansion in the use of expressive and interpretative media, as well as the integration of different kinds of knowledge: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an ancient entertainment space. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can generate further knowledge.<br /> <br /> <br /> == Recent Publications ==<br /> <br /> <br /> <br /> == Websites ==<br /> <br /> * Institutional Website: <br /> http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> *Personal Website: <br /> http://www.annafoka.com/</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=User:AnnaFoka&diff=4883 2014-07-02T16:27:42Z

<p>AnnaFoka: </p> <hr /> <div><br /> == Bio ==<br /> Anna Foka is an Associate Senior Lecturer at HUMlab, the Umeå University. For the academic period (2013-2017) she is constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome). I am a proud member of the research group UGPS (Umeå Group for Premodern Studies).<br /> <br /> My broad research interests include cultural and social history, history for different frames, constructions of socio- cultural identity, gender studies, and the relationship between historical culture(s) and contemporaneity. I have published in the fields of gender and humour in Graeco-Roman culture, and the reception of antiquity in popular culture.<br /> <br /> I defended my PhD thesis in ancient comedy and the construction of Greek identity (Liverpool 2010). I have a MA in Classics and Ancient History (Liverpool 2006), and a 4-year MA degree in Performance Studies in Premodernity (NCU Athens 2003). Prior to my current position, I was a post-doctoral research fellow at the Umeå Centre for Gender Studies at University (in collaboration with the school of History) and I have held lecturing positions at both Manchester and Liverpool University (UK). In my spare time I enjoy compiling and listening to music, swimming, fencing, painting, and gaming.<br /> <br /> <br /> <br /> == Websites ==<br /> <br /> * Institutional Website: <br /> http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> *Personal Website: <br /> http://www.annafoka.com/</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4860 2014-07-01T17:09:54Z

<p>AnnaFoka: /* PAPERS */</p> <hr /> <div><br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> <br /> == PEOPLE ==<br /> Project Director<br /> <br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> <br /> Director of 3D Modeling, 1996-2008<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> <br /> Director of 3D Modeling, 2008-2013<br /> <br /> Kim Dylla, University of Virginia<br /> <br /> Director of 3D Modeling, 2013-<br /> <br /> Matthew Brennan, Indiana University<br /> <br /> Director of 3D Scanning<br /> <br /> Gabriele Guidi, Politecnico di Milano<br /> <br /> Scientific Advisors<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors<br /> Hand modelers<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modeling<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces<br /> <br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration<br /> <br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project<br /> Editor-in-chief<br /> <br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts<br /> <br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation<br /> <br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> <br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> <br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> <br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> <br /> Bernard Frischer, Frischer Consulting<br /> <br /> About<br /> Current Version<br /> Archive<br /> Related Websites<br /> Project News<br /> Gallery<br /> Current Version<br /> Archive<br /> People<br /> Papers<br /> Press<br /> Media Coverage<br /> For Journalists<br /> Contact<br /> <br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> == PAPERS ==<br /> <br /> <br /> Frischer, Bernard, forthcoming. &quot; &quot;Cultural and Digital Memory: Case Studies from the Virtual World Heritage Laboratory,&quot; in Memoria Romana, edited by G. Karl Galinsky, Memoirs of the American Academy in Rome<br /> <br /> Taylor-Nelms, Lee, Lynne Kvapil, John Fillwalk, Bernard Frischer, forthcoming. &quot; &quot;Investigating the Effectiveness of Problem-Based Learning in 3D Virtual Worlds. A Preliminary Report on the Digital Hadrian's Villa Project,&quot; Proceedings of the 2012 Conference of Computing Applications to Archaeology, Southampton, UK, 26-29 March 2012.<br /> <br /> Frischer, Bernard, John Fillwalk, forthcoming. &quot; &quot;The Digital Hadrian's Villa Project. Using Virtual Worlds to Control Suspected Solar Alignments,&quot; forthcoming in Proceedings of the Annual Conference of The International Society for Virtual Systems and Multimedia 2012.<br /> <br /> Dylla, Kimberly, Bernard Frischer et al., 2010. &quot;Rome Reborn 2.0: A Case Study of Virtual City Reconstruction Using Procedural Modeling Techniques,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 62-66. <br /> <br /> Wells, Sarah, Bernard Frischer, et al., 2010. &quot;Rome Reborn in Google Earth,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 373-379. View Document <br /> <br /> Frischer, B., 2008. &quot;The Rome Reborn Project. How Technology is helping us to study history,&quot; OpEd, November 10, 2008. University of Virginia.<br /> <br /> Frischer, B. and P. Stinson, 2007. &quot;The Importance of Scientific Authentication and a Formal Visual Language in Virtual Models of Archaeological Sites: The Case of the House of Augustus and Villa of the Mysteries,&quot; in Interpreting The Past: Heritage, New Technologies and Local Development.<br /> <br /> Proceedings of the Conference on Authenticity, Intellectual Integrity and Sustainable Development of the Public Presentation of Archaeological and Historical Sites and Landscapes, Ghent, East-Flanders, 11-13 September 2002. Flemish Heritage Institute, Ename Center for Public Archaeology and Heritage Presentation. 2007, Brussels, Belgium. <br /> <br /> Frischer, B., 2006. &quot;New Directions for Cultural Virtual Reality: A Global Strategy for Archiving, Serving, and Exhibiting 3D Computer Models of Cultural Heritage Sites,&quot; in Proceedings of the Conference, Virtual Retrospect 2005 (Bordeaux), 168-175. <br /> <br /> Frischer, B., D. Abernathy, F.C. Giuliani, R. Scott, H. Ziemssen, 2006. &quot;A New Digital Model of the Roman Forum,&quot; in &quot;Imaging Ancient Rome. Documentation-Visualization-Imagination,&quot; edited by Lothar Haselberger and John Humphrey, Journal of Roman Archaeology, Supplementary Series 61, 163-182.<br /> <br /> Guidi, G., B. Frischer, et al., 2005. &quot;Virtualizing Ancient Rome: 3D Acquisition and Modeling of a Large Plaster-of-Paris Model of Imperial Rome,&quot; Videometrics VIII, edited by J.-Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, James S. Walton, 18-20 January 2005, San Jose, California, USA, SPIE, vol. 5665, 119-133. <br /> <br /> Frischer, B., 2005. &quot;The Digital Roman Forum Project: Remediating the Traditions of Roman Topography,&quot; in Acts of the 2nd Italy-United States Workshop, Rome, Italy, November 3-5, 2003, Berkeley, USA, May, 2005 edited by M. Forte, BAR International Series 1379 (Oxford 2005) 9-21. <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4858 2014-07-01T17:08:40Z

<p>AnnaFoka: </p> <hr /> <div><br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> <br /> == PEOPLE ==<br /> Project Director<br /> <br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> <br /> Director of 3D Modeling, 1996-2008<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> <br /> Director of 3D Modeling, 2008-2013<br /> <br /> Kim Dylla, University of Virginia<br /> <br /> Director of 3D Modeling, 2013-<br /> <br /> Matthew Brennan, Indiana University<br /> <br /> Director of 3D Scanning<br /> <br /> Gabriele Guidi, Politecnico di Milano<br /> <br /> Scientific Advisors<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors<br /> Hand modelers<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modeling<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces<br /> <br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration<br /> <br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project<br /> Editor-in-chief<br /> <br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts<br /> <br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation<br /> <br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> <br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> <br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> <br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> <br /> Bernard Frischer, Frischer Consulting<br /> <br /> About<br /> Current Version<br /> Archive<br /> Related Websites<br /> Project News<br /> Gallery<br /> Current Version<br /> Archive<br /> People<br /> Papers<br /> Press<br /> Media Coverage<br /> For Journalists<br /> Contact<br /> <br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> == PAPERS ==<br /> <br /> <br /> Frischer, Bernard, forthcoming. &quot; &quot;Cultural and Digital Memory: Case Studies from the Virtual World Heritage Laboratory,&quot; in Memoria Romana, edited by G. Karl Galinsky, Memoirs of the American Academy in Rome<br /> Taylor-Nelms, Lee, Lynne Kvapil, John Fillwalk, Bernard Frischer, forthcoming. &quot; &quot;Investigating the Effectiveness of Problem-Based Learning in 3D Virtual Worlds. A Preliminary Report on the Digital Hadrian's Villa Project,&quot; Proceedings of the 2012 Conference of Computing Applications to Archaeology, Southampton, UK, 26-29 March 2012.<br /> Frischer, Bernard, John Fillwalk, forthcoming. &quot; &quot;The Digital Hadrian's Villa Project. Using Virtual Worlds to Control Suspected Solar Alignments,&quot; forthcoming in Proceedings of the Annual Conference of The International Society for Virtual Systems and Multimedia 2012.<br /> Dylla, Kimberly, Bernard Frischer et al., 2010. &quot;Rome Reborn 2.0: A Case Study of Virtual City Reconstruction Using Procedural Modeling Techniques,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 62-66. View Document <br /> Wells, Sarah, Bernard Frischer, et al., 2010. &quot;Rome Reborn in Google Earth,&quot; in CAA 2009. Making History Interactive. 37th Proceedings of the CAA Conference March 22-26, 2009, Williamsburg, Virginia (Archaeopress: Oxford, 2010) 373-379. View Document <br /> Frischer, B., 2008. &quot;The Rome Reborn Project. How Technology is helping us to study history,&quot; OpEd, November 10, 2008. University of Virginia.<br /> Frischer, B. and P. Stinson, 2007. &quot;The Importance of Scientific Authentication and a Formal Visual Language in Virtual Models of Archaeological Sites: The Case of the House of Augustus and Villa of the Mysteries,&quot; in Interpreting The Past: Heritage, New Technologies and Local Development. Proceedings of the Conference on Authenticity, Intellectual Integrity and Sustainable Development of the Public Presentation of Archaeological and Historical Sites and Landscapes, Ghent, East-Flanders, 11-13 September 2002. Flemish Heritage Institute, Ename Center for Public Archaeology and Heritage Presentation. 2007, Brussels, Belgium. <br /> Frischer, B., 2006. &quot;New Directions for Cultural Virtual Reality: A Global Strategy for Archiving, Serving, and Exhibiting 3D Computer Models of Cultural Heritage Sites,&quot; in Proceedings of the Conference, Virtual Retrospect 2005 (Bordeaux), 168-175. <br /> Frischer, B., D. Abernathy, F.C. Giuliani, R. Scott, H. Ziemssen, 2006. &quot;A New Digital Model of the Roman Forum,&quot; in &quot;Imaging Ancient Rome. Documentation-Visualization-Imagination,&quot; edited by Lothar Haselberger and John Humphrey, Journal of Roman Archaeology, Supplementary Series 61, 163-182. <br /> Guidi, G., B. Frischer, et al., 2005. &quot;Virtualizing Ancient Rome: 3D Acquisition and Modeling of a Large Plaster-of-Paris Model of Imperial Rome,&quot; Videometrics VIII, edited by J.-Angelo Beraldin, Sabry F. El-Hakim, Armin Gruen, James S. Walton, 18-20 January 2005, San Jose, California, USA, SPIE, vol. 5665, 119-133. <br /> Frischer, B., 2005. &quot;The Digital Roman Forum Project: Remediating the Traditions of Roman Topography,&quot; in Acts of the 2nd Italy-United States Workshop, Rome, Italy, November 3-5, 2003, Berkeley, USA, May, 2005 edited by M. Forte, BAR International Series 1379 (Oxford 2005) 9-21. <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Category:Multisensory_approaches&diff=4856 2014-07-01T17:05:29Z

<p>AnnaFoka: Created page with &quot;While our visual and textual media allow linking and amplifying particular qualities of materials and places distant in time and space, they are also reductionist to the very ...&quot;</p> <hr /> <div>While our visual and textual media allow linking and amplifying particular qualities of materials and places distant in time and space, they are also reductionist to the very experience of the world in which we are immersed. For example, archaeological instruments are implicated within a whole process of material mobilization – from field-walking, to the final stages of synthesis and articulation sensory interactions with the material environment is key. The repeated experiences of other senses, can interweave to create an experience of place, society, and culture through a deeper use of digital ekphrasis. Sound, for example, has been characterised as immediate, evocative, linking biological constants with semantics and cultural variables to an immersive experience of performance.</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Category:Prototypes&diff=4854 2014-07-01T17:02:11Z

<p>AnnaFoka: Created page with &quot;This category collections projects and other pages that describe prototypes, proof of concept, or case studies. Digital Prototyping gives conceptual design the ability to virt...&quot;</p> <hr /> <div>This category collections projects and other pages that describe prototypes, proof of concept, or case studies. Digital Prototyping gives conceptual design the ability to virtually explore a complete product before it is built. Digital Prototypes go beyond simply creating finished product designs in 3D. They give development teams a way to assess the operation of parts, and to determine how the various product components can bring forth new ways of digital arrangements that can lead to both digital and traditional research questions.</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=4832 2014-07-01T16:40:09Z

<p>AnnaFoka: </p> <hr /> <div>==Digital Bread and Circuses (2013-2017)==<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> <br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> <br /> * http://dha2014.org/wp-content/uploads/2014/03/DHA-2014-conference-full-proceedings.pdf<br /> <br /> ==Selected Bibliography==<br /> <br /> <br /> Agre, P. 1997. Toward a Critical Technical Practice: Lessons Learned in Trying to Reform AI. In Beyond the Great Divide: Social Science, Technical systems, and Cooperative work, edited by. Bowker, G. C., Gasser, . L., Star, S. L. and Turner, W. Mahwah, NJ: Erlbaum: 131–58. <br /> <br /> Beacham, R. 2012. ‘Observations of Staging the Ludi Virtuales’, edited by Thorsen et al., Greek and Roman Games in the Computer Age, Trondheim: NTNU Press: 109-24.<br /> <br /> Betts, E. 2011. ‘Towards a Multisensory Experience of movement in the City of Rome’, Rome, Ostia and Pompeii: Movement and Space, edited by Laurence, R. and Newsome, D. Oxford: Oxford University Press: 118-32.<br /> <br /> Betts, E. 2013. ‘Cubrar Matrer: Goddess of the Picenes?’, in Whitehouse R. D. and Wilkins, J. B. (eds.) Accordia Research Papers 12, London: Accordia Research Institute, University of London.
<br /> <br /> Butler. S. and Purves, A. 2013. Synaesthesia and the Ancient Senses, Durham: Acumen. <br /> <br /> Chion, M. 1994. Audio-Vision: Sound on Screen. New York, NY: Columbia University Press. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, D. 2003. ‘Image-Based Techniques for Enhancing Virtual Reality Environments’, Proceedings in Arts and Cultural Heritage 2nd International Workshop on ICTs, Athens: Art Nouveau: 61-71. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2004. ‘The Ancient Olympic Games: Being Part of the Experience’, International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Athens: VAST: 19-28.<br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2005 ‘Virtual Reality Systems and Applications: The Ancient Olympic Games’, Proceedings of the 10th Panhellenic Conference on Informatics, Thessaly: University of Thessaly Press: 155-165.<br /> <br /> Classen, C. 1997. ‘Foundations for an Anthropology of the Senses’, International Social Science Journal 49 (153): 401–12.
<br /> <br /> Crary, J. 1988. ‘Modernizing Vision’, in Vision and Visuality, edited by Foster. H. Seattle: Bay Press: 29–44.<br /> Drobnick, J. 2006. ‘Introduction: Olfactocentrism’ in The Smell Culture Reader edited by Drobnick, J. Oxford: Berg: 1-9.<br /> <br /> Dewey, J. (1980) Art as Experience, New York: Perigee. <br /> <br /> Dunne, A. 2005. Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design, Cambridge, MA: MIT Press<br /> Dunn S. 2010. ‘Space as Artefact: A Perspective in Neogeography’, in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey: Ashgate: 53-72.
<br /> <br /> Favro, D. 1996. The Urban Image of Augustan Rome, Cambridge: Cambridge University Press.<br /> <br /> Favro, D. 2006. ‘In the Eyes of the Beholder: Virtual Reality Re-creations and Academia’, in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology: 321-34.<br /> <br /> Foka, A. (2015, forthcoming) “Towards a Critical Making of Sound (and other Senses) for Roman Popular Entertainment”. in Multisensory Antiquity Betts, E. and Graham, E.J. London: Ashgate. <br /> <br /> Forte M. and Siliotti, A. 1997. Virtual Archaeology: Re-Creating Ancient Worlds, New York: HN Abrams. <br /> <br /> Forte, M. Campana, S. 2006. ‘From Space to Place’, Proceedings of the 2nd International Conference on Remote Sensing in Archaeology, BAR International Series 1568, Oxford: Archaeopress.<br /> <br /> Forte, M. (ed) 2010. Cyber Archaeology, BAR International<br /> Series 2177, Oxford: Archaeopress.<br /> <br /> Frischer, B., Abernathy, D., Giuliani, F. C., Scott, R. T., and Ziemssen, H. 2006. ‘A New Digital Model of the Roman Forum’ in in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology, 163-82.<br /> <br /> Gade, A. C. &amp; Angelakis, K. 2006. ‘Acoustics of ancient Greek and Roman theaters in use today' Acoustical Society of America. Journal vol 120, no. 5: 3148.<br /> <br /> Galloway, A. R. 2004. ‘Social Realism in Gaming’, Game Studies, New York.<br /> <br /> Giaccardi, G. et al 2012. Digital Heritage and Social Media, New York: Routledge. <br /> <br /> Gruen, E. 2011. Roman History: Early to Republic: Oxford Bibliographies Online Research Guide, Oxford: Oxford University Press. <br /> <br /> Harvey, S. A. 2006. Scenting Salvation; Ancient Christianity and the Olfactory Imagination, Berkeley, CA: University of California. <br /> <br /> Howes, D. 2005. Empire of the Senses: the Sensual Culture Reader, Oxford: Berg. <br /> <br /> Joyce, R. A. with Preucel, R.W. and Lopiparo, J. 2002. The Languages of Archaeology: Dialogue, Narrative and Writing. Oxford: Blackwell.<br /> <br /> Ihde, D. 2005. ‘Auditory Imagination’ in The Auditory Culture Reader edited by Bull, M. Back, L. Oxford: Berg: 61-66.<br /> <br /> Larmour, D. H. J. 2007. ‘Holes in the Body: Sites of Abjection in Juvenal’s Rome’ The Sites of Rome: Time, Space, Memory, edited by in Larmour, D. H. J. and Spencer, D. Oxford: Oxford University Press: 168-210.<br /> <br /> Latour, B. 1986. ‘Visualization and Cognition: Thinking with Eyes and Hands’, in Knowledge and Society: Studies in the Sociology of Culture Past and Present, edited by Kuklick, H. and Long, E. Vol. 6 Greenwich, CT and London: JAI Press: 1–40<br /> <br /> Latour, B. 1999. Pandora’s Hope: Essays on the Reality of Science Studies, Cambridge, MA: Harvard University Press.<br /> <br /> Lindhé, C. 2013. ‘A Visual Sense is Born in the Fingertips’: Towards a Digital Ekphrasis’ Digital Humanities Quarterly, 7(1): 376-82.<br /> <br /> Lyer, A. 2000. ‘Towards an Archaeology of Dance’ in Preservation Politics edited by Jordan, S. Dance Revived, Reconstructed, Remade, London: 141-5. <br /> <br /> Mahony, S. and Bodard, G. 2010. Digital Research in the Study of Classical Antiquity, Surrey: Ashgate. <br /> <br /> Mahony, S. and Bodard, G. 2010. ‘Introduction’ in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey Ashgate: 1-14. <br /> <br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> Shanks, M. 2004. ‘Three Rooms: Archaeology and Performance’, Journal of Social Archaeology 4(2): 147–80.<br /> <br /> Sengers, P., K. Boehner, S. David, and J. Kaye. 2005. ‘Reflective Design’. Proceedings of the 4th Decennial Conference on Critical Computing: Between Sense and Sensibility, Aarhus<br /> <br /> Thorsen, T. S. 2012. Greek and Roman Games in the Computer Age, Trondheim: NTNU Press.<br /> <br /> Toner, J. P. 2009. Popular Culture in Ancient Rome, Cambridge: Polity.<br /> <br /> Tuuri, K., Mustonen, M. &amp; Pirhonen, A. 2007. ‘Same Sound – Different Meanings: A Novel Scheme for Modes of listening’. In Proceedings of Audio Mostly 2007 Ilmenau, Germany: Fraunhofer Institute for Digital Media Technology IDMT. 13-18.<br /> <br /> Watson, A. and Keating, D. 1999. ‘Architecture and Sound: an Acoustic Analysis of Megalithic Monuments in Prehistoric Britain’. Antiquity 73: 325-36. <br /> <br /> Webb, R. 2002. ‘Female entertainments in Late Antiquity’, in Greek and Roman Actors, edited by Hall, E. and Easterling P., Cambridge: Cambridge University Press: 282-303. <br /> <br /> Webmoor, T. 2005. Social Software, Science Studies and Mediational Archaeology. Stanford, CA: Metamedia. <br /> <br /> Witmore, C.L. and Adler, J. 2004. New Media Transect: A Peripatetic Engagement with the Past. Stanford, CA: Metamedia.<br /> <br /> Witmore, C.L. 2004. ‘Four Archaeological Engagements with Place: Mediating Bodily Experience through Peripatetic Video’, Visual Anthropology Review 20(2): 57–71. <br /> <br /> Witmore, C.L. 2005. Multiple Field Approaches in the Mediterranean: Revisiting the Argolid Exploration Project. Stanford, CA: Metamedia. <br /> <br /> Witmore, C. L. 2006. ‘Vision, Media Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World’, Journal of Material Culture Vol. 11(3): 267–292<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[category:archaeology]]<br /> [[category:classics]]<br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]<br /> [[category:prototypes]]<br /> [[category:multisensory approaches]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Rome_Reborn&diff=4825 2014-07-01T16:38:12Z

<p>AnnaFoka: </p> <hr /> <div><br /> == DESCRIPTION ==<br /> Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered.<br /> <br /> <br /> == PEOPLE ==<br /> Project Director<br /> <br /> Bernard Frischer, Director, Rome Reborn (President, Frischer Consulting)<br /> <br /> Director of 3D Modeling, 1996-2008<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> <br /> Director of 3D Modeling, 2008-2013<br /> <br /> Kim Dylla, University of Virginia<br /> <br /> Director of 3D Modeling, 2013-<br /> <br /> Matthew Brennan, Indiana University<br /> <br /> Director of 3D Scanning<br /> <br /> Gabriele Guidi, Politecnico di Milano<br /> <br /> Scientific Advisors<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Carla Amici, Department of Classical Archaeology, Università di Lecce<br /> Darius Arya, American Institute for Roman Culture<br /> Heinz Beste, Istituto Archeologico Germanico, Roma<br /> Mary Boatwright, Department of Classics, Duke University<br /> Bernd Breuckmann, Breuckmann GmbH, Meersburg, Germany<br /> Fulvio Cairoli Giuliani, Faculty of Letters and Philosophy, Università di Roma &quot;La Sapienza&quot;<br /> Diane Favro, Department of Architecture, UCLA<br /> Angela Ferroni, Ministero per i Beni e le Attività Culturali<br /> Philippe Fleury, Professeur de Latin Université de Caen Basse-Normandie<br /> Gabriele Guidi, INDACO, Politecnico di Milano<br /> Chris Johanson, Department of Classics, UCLA<br /> Bernard Frischer, chair, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> David Koller, University of Virginia<br /> Lynn Lancaster, Department of Classics, Ohio University<br /> Paolo Liverani, Department of the Sciences of Antiquity, Università di Firenze<br /> Sophie Madeleine, CIREVE (Centre Interdisciplinaire de Réalité Virtuelle), Université de Caen Basse-Normandie<br /> Pascal Mueller, Procedural, Zurich, Switzerland<br /> Eric Poehler, Department of Classics, University of Massachusetts, Amherst<br /> Michael Raphael, Direct Dimensions, Owings Mills, Maryland, USA<br /> Daniela Scagliarini Corlàita, Dipartimento di Archeologia, Università di Bologna<br /> Philip Stinson, Department of Classics, University of Kansas<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> Robert Vergnieux, Université de Bordeaux-3, CNRS<br /> Mark Wilson-Jones, Department of Architecture, University of Bath<br /> <br /> Contributors<br /> Hand modelers<br /> <br /> Dean Abernathy, UCLA, University of Virginia<br /> Brendan Beachler, UCLA Experiential Technologies Center<br /> Tom Beresford, UCLA Experiential Technologies Center<br /> Matthew Brennan, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> Renee Calkins, UCLA, Experiential Technologies Center<br /> Kim Dylla, University of Virginia<br /> Kathryn Fallat, UCLA Experiential Technologies Center<br /> Steven Guban, UCLA, Experiential Technologies Center<br /> Susuke Inoue, UCLA Experiential Technologies Center<br /> Chris Johanson, UCLA, Experiential Technologies Center<br /> Chad Keller, Institute for Advanced Technology in the Humanities, University of Virginia<br /> Alessio Mauri, CINECA (Bologna, Italy)<br /> Robert Pellegrino, UC Santa Barbara<br /> Phil Stinson, University of Kansas<br /> Satoru Sugihara, UCLA Experiential Technologies Center<br /> Carmen Valenciano, University of Madrid<br /> Leonardo Viale, Sequence Group<br /> Rebeka Vital, UCLA, Experiential Technologies Center<br /> Itay Zaharovits, UCLA, Experiential Technologies Center<br /> <br /> Experts for 3D data capture and modeling<br /> <br /> Francesco Bellandi, INDACO, Politecnico di Milano<br /> Nico Brunati, INDACO, Politecnico di Milano<br /> Luca Carosso, Università di Firenze<br /> Janez Donno, INDACO, Politecnico di Milano<br /> Sarah Dylla, IATH, University of Virginia<br /> Tommaso Grasso, Sutri, Italy<br /> Ignazio Lucenti, INDACO, Politecnico di Milano<br /> Laura Loredana Micoli, INDACO, Politecnico di Milano<br /> Stefano Magistrelli, INDACO, Politecnico di Milano<br /> Giorgia Morlando, INDACO, Politecnico di Milano<br /> Michele Russo, INDACO, Politecnico di Milano<br /> Alessandro Spinetti, Università di Firenze<br /> Michael Waters, IATH, University of Virginia<br /> <br /> Software developers for user interfaces<br /> <br /> Don Burns, Andes Engineering<br /> Kim Dylla, University of Virginia<br /> Kejian Jin, ATS, UCLA<br /> Chris Johanson, UCLA<br /> David Koller, IATH, University of Virginia<br /> Bob Kuehne, Blue Newt Software<br /> Robert Osfield, lead developer, Open Scene Graph (Glasgow, Scotland)<br /> Joan Slottow, ATS, UCLA<br /> <br /> System Administration<br /> <br /> Shayne Brandon, littleBit Consulting<br /> <br /> Digital Roman Forum Web Project<br /> Editor-in-chief<br /> <br /> Bernard Frischer, Virtual World Heritage Laboratory, University of Virginia, Indiana University<br /> <br /> Advisory Committee<br /> <br /> Chris Borgman, Department of Information Studies, UCLA<br /> Gregory Crane, Department of Classics, Tufts University<br /> Diane Favro, Department of Architecture, UCLA<br /> Russell Scott, Department of Greek and Latin, Bryn Mawr College<br /> <br /> Translator and Editor of Greek and Latin Texts<br /> <br /> Jane W. Crawford, Department of Classics, University of Virginia<br /> <br /> Web Design and Implementation<br /> <br /> Ewan Branda, UCLA Department of Architecture<br /> <br /> Web Design and Implementation, Rome Reborn 1.0 project site<br /> <br /> Karey Darnell Helms<br /> <br /> Web Design and Implementation, Rome Reborn 2.0 project site<br /> <br /> Douglas Ross, IATH, University of Virginia<br /> Sarah Dylla, IATH, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.1 project site<br /> <br /> Adam McCune, Virtual World Heritage Laboratory, University of Virginia<br /> <br /> Web Design and Implementation, Rome Reborn 2.2 project site<br /> <br /> Bernard Frischer, Frischer Consulting<br /> <br /> About<br /> Current Version<br /> Archive<br /> Related Websites<br /> Project News<br /> Gallery<br /> Current Version<br /> Archive<br /> People<br /> Papers<br /> Press<br /> Media Coverage<br /> For Journalists<br /> Contact<br /> <br /> <br /> == LINKS ==<br /> <br /> <br /> * see http://www.romereborn.virginia.edu/<br /> * see http://earth.google.com/rome/<br /> * http://romereborn.frischerconsulting.com/people.php<br /> <br /> <br /> <br /> [[Category:Projects]]<br /> [[category:cultural heritage]]<br /> [[category:visualisation]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=4806 2014-07-01T16:27:49Z

<p>AnnaFoka: /* Links */</p> <hr /> <div>==Digital Bread and Circuses (2013-2017)==<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> <br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> <br /> * http://dha2014.org/wp-content/uploads/2014/03/DHA-2014-conference-full-proceedings.pdf<br /> <br /> ==Selected Bibliography==<br /> <br /> <br /> Agre, P. 1997. Toward a Critical Technical Practice: Lessons Learned in Trying to Reform AI. In Beyond the Great Divide: Social Science, Technical systems, and Cooperative work, edited by. Bowker, G. C., Gasser, . L., Star, S. L. and Turner, W. Mahwah, NJ: Erlbaum: 131–58. <br /> <br /> Beacham, R. 2012. ‘Observations of Staging the Ludi Virtuales’, edited by Thorsen et al., Greek and Roman Games in the Computer Age, Trondheim: NTNU Press: 109-24.<br /> <br /> Betts, E. 2011. ‘Towards a Multisensory Experience of movement in the City of Rome’, Rome, Ostia and Pompeii: Movement and Space, edited by Laurence, R. and Newsome, D. Oxford: Oxford University Press: 118-32.<br /> <br /> Betts, E. 2013. ‘Cubrar Matrer: Goddess of the Picenes?’, in Whitehouse R. D. and Wilkins, J. B. (eds.) Accordia Research Papers 12, London: Accordia Research Institute, University of London.
<br /> <br /> Butler. S. and Purves, A. 2013. Synaesthesia and the Ancient Senses, Durham: Acumen. <br /> <br /> Chion, M. 1994. Audio-Vision: Sound on Screen. New York, NY: Columbia University Press. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, D. 2003. ‘Image-Based Techniques for Enhancing Virtual Reality Environments’, Proceedings in Arts and Cultural Heritage 2nd International Workshop on ICTs, Athens: Art Nouveau: 61-71. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2004. ‘The Ancient Olympic Games: Being Part of the Experience’, International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Athens: VAST: 19-28.<br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2005 ‘Virtual Reality Systems and Applications: The Ancient Olympic Games’, Proceedings of the 10th Panhellenic Conference on Informatics, Thessaly: University of Thessaly Press: 155-165.<br /> <br /> Classen, C. 1997. ‘Foundations for an Anthropology of the Senses’, International Social Science Journal 49 (153): 401–12.
<br /> <br /> Crary, J. 1988. ‘Modernizing Vision’, in Vision and Visuality, edited by Foster. H. Seattle: Bay Press: 29–44.<br /> Drobnick, J. 2006. ‘Introduction: Olfactocentrism’ in The Smell Culture Reader edited by Drobnick, J. Oxford: Berg: 1-9.<br /> <br /> Dewey, J. (1980) Art as Experience, New York: Perigee. <br /> <br /> Dunne, A. 2005. Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design, Cambridge, MA: MIT Press<br /> Dunn S. 2010. ‘Space as Artefact: A Perspective in Neogeography’, in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey: Ashgate: 53-72.
<br /> <br /> Favro, D. 1996. The Urban Image of Augustan Rome, Cambridge: Cambridge University Press.<br /> <br /> Favro, D. 2006. ‘In the Eyes of the Beholder: Virtual Reality Re-creations and Academia’, in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology: 321-34.<br /> <br /> Foka, A. (2015, forthcoming) “Towards a Critical Making of Sound (and other Senses) for Roman Popular Entertainment”. in Multisensory Antiquity Betts, E. and Graham, E.J. London: Ashgate. <br /> <br /> Forte M. and Siliotti, A. 1997. Virtual Archaeology: Re-Creating Ancient Worlds, New York: HN Abrams. <br /> <br /> Forte, M. Campana, S. 2006. ‘From Space to Place’, Proceedings of the 2nd International Conference on Remote Sensing in Archaeology, BAR International Series 1568, Oxford: Archaeopress.<br /> <br /> Forte, M. (ed) 2010. Cyber Archaeology, BAR International<br /> Series 2177, Oxford: Archaeopress.<br /> <br /> Frischer, B., Abernathy, D., Giuliani, F. C., Scott, R. T., and Ziemssen, H. 2006. ‘A New Digital Model of the Roman Forum’ in in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology, 163-82.<br /> <br /> Gade, A. C. &amp; Angelakis, K. 2006. ‘Acoustics of ancient Greek and Roman theaters in use today' Acoustical Society of America. Journal vol 120, no. 5: 3148.<br /> <br /> Galloway, A. R. 2004. ‘Social Realism in Gaming’, Game Studies, New York.<br /> <br /> Giaccardi, G. et al 2012. Digital Heritage and Social Media, New York: Routledge. <br /> <br /> Gruen, E. 2011. Roman History: Early to Republic: Oxford Bibliographies Online Research Guide, Oxford: Oxford University Press. <br /> <br /> Harvey, S. A. 2006. Scenting Salvation; Ancient Christianity and the Olfactory Imagination, Berkeley, CA: University of California. <br /> <br /> Howes, D. 2005. Empire of the Senses: the Sensual Culture Reader, Oxford: Berg. <br /> <br /> Joyce, R. A. with Preucel, R.W. and Lopiparo, J. 2002. The Languages of Archaeology: Dialogue, Narrative and Writing. Oxford: Blackwell.<br /> <br /> Ihde, D. 2005. ‘Auditory Imagination’ in The Auditory Culture Reader edited by Bull, M. Back, L. Oxford: Berg: 61-66.<br /> <br /> Larmour, D. H. J. 2007. ‘Holes in the Body: Sites of Abjection in Juvenal’s Rome’ The Sites of Rome: Time, Space, Memory, edited by in Larmour, D. H. J. and Spencer, D. Oxford: Oxford University Press: 168-210.<br /> <br /> Latour, B. 1986. ‘Visualization and Cognition: Thinking with Eyes and Hands’, in Knowledge and Society: Studies in the Sociology of Culture Past and Present, edited by Kuklick, H. and Long, E. Vol. 6 Greenwich, CT and London: JAI Press: 1–40<br /> <br /> Latour, B. 1999. Pandora’s Hope: Essays on the Reality of Science Studies, Cambridge, MA: Harvard University Press.<br /> <br /> Lindhé, C. 2013. ‘A Visual Sense is Born in the Fingertips’: Towards a Digital Ekphrasis’ Digital Humanities Quarterly, 7(1): 376-82.<br /> <br /> Lyer, A. 2000. ‘Towards an Archaeology of Dance’ in Preservation Politics edited by Jordan, S. Dance Revived, Reconstructed, Remade, London: 141-5. <br /> <br /> Mahony, S. and Bodard, G. 2010. Digital Research in the Study of Classical Antiquity, Surrey: Ashgate. <br /> <br /> Mahony, S. and Bodard, G. 2010. ‘Introduction’ in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey Ashgate: 1-14. <br /> <br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> Shanks, M. 2004. ‘Three Rooms: Archaeology and Performance’, Journal of Social Archaeology 4(2): 147–80.<br /> <br /> Sengers, P., K. Boehner, S. David, and J. Kaye. 2005. ‘Reflective Design’. Proceedings of the 4th Decennial Conference on Critical Computing: Between Sense and Sensibility, Aarhus<br /> <br /> Thorsen, T. S. 2012. Greek and Roman Games in the Computer Age, Trondheim: NTNU Press.<br /> <br /> Toner, J. P. 2009. Popular Culture in Ancient Rome, Cambridge: Polity.<br /> <br /> Tuuri, K., Mustonen, M. &amp; Pirhonen, A. 2007. ‘Same Sound – Different Meanings: A Novel Scheme for Modes of listening’. In Proceedings of Audio Mostly 2007 Ilmenau, Germany: Fraunhofer Institute for Digital Media Technology IDMT. 13-18.<br /> <br /> Watson, A. and Keating, D. 1999. ‘Architecture and Sound: an Acoustic Analysis of Megalithic Monuments in Prehistoric Britain’. Antiquity 73: 325-36. <br /> <br /> Webb, R. 2002. ‘Female entertainments in Late Antiquity’, in Greek and Roman Actors, edited by Hall, E. and Easterling P., Cambridge: Cambridge University Press: 282-303. <br /> <br /> Webmoor, T. 2005. Social Software, Science Studies and Mediational Archaeology. Stanford, CA: Metamedia. <br /> <br /> Witmore, C.L. and Adler, J. 2004. New Media Transect: A Peripatetic Engagement with the Past. Stanford, CA: Metamedia.<br /> <br /> Witmore, C.L. 2004. ‘Four Archaeological Engagements with Place: Mediating Bodily Experience through Peripatetic Video’, Visual Anthropology Review 20(2): 57–71. <br /> <br /> Witmore, C.L. 2005. Multiple Field Approaches in the Mediterranean: Revisiting the Argolid Exploration Project. Stanford, CA: Metamedia. <br /> <br /> Witmore, C. L. 2006. ‘Vision, Media Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World’, Journal of Material Culture Vol. 11(3): 267–292<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[category:projects]]<br /> [[category:archaeology]]<br /> [[category:classics]]</div>

AnnaFoka https://wiki.digitalclassicist.org/index.php?title=Digital_bread_and_circuses&diff=4805 2014-07-01T16:26:41Z

<p>AnnaFoka: /* Selected Bibliography */</p> <hr /> <div>==Digital Bread and Circuses (2013-2017)==<br /> <br /> Part of the project Screens as Material [http://www.humlab.umu.se/en/research-development/multiple-screens-as-material/]at HUMlab Umeå University, Sweden [http://www.humlab.umu.se/en/].<br /> <br /> Anna Foka (Associate Senior Lecturer at HUMlab, Umeå University) is studying and constructing multisensory conceptual digital prototypes of ancient entertainment spaces (Greek Theatre, Roman Amphitheatre, Hippodrome).<br /> <br /> The proposed prototypes aim to challenge our understanding of the Roman amphitheatre (and consequentially other ancient entertainment sites such as the Greek theatre, Circuses and Hippodromes) and as (presently) epistemologically embedded in textual and oculocentric traditions in research and popular culture representations. It is an in-depth investigation of the manners in which historical and cultural reproductions, are shaped by and correspond to the audiences’ digital aesthetic expectations and own historical culture(s). For the period: 2014-5, the suggested project will focus on the deeper context of the Roman amphitheatre (and it will later incorporate the Greek theatre) as an ancient entertainment locus; Prototypes will target the sites’ comprehensive materiality, multisensory sensibility, and aim to go beyond already shaped assumptions about gender, hierarchies, and entertainment in antiquity. <br /> <br /> Understanding the Greek theatre and the Roman amphitheatre beyond their materiality and narratives, both as a situated socio-cultural topoi and historical artifacts requires an expansion of expressive and interpretative media used, as well as the integration of different kinds of knowledge. Aside contemporary microhistory and thematic analysis, one needs to adopt a critical making methodology: a combination of existing material and literary sources and different sensory arrangements that can enable a more holistic approach of the experience of an amphitheatre. A model shaped by layers of “data” combined with different perspectives: a site that will be used simultaneously for engagement, as well as critical comparison and work, and can produce knowledge that cannot be achieved otherwise.<br /> <br /> ==Links==<br /> <br /> * http://www.humlab.umu.se/en/about/staff/anna-foka/<br /> <br /> * http://lha.uow.edu.au/content/groups/public/@web/@arts/documents/doc/uow159525.pdf<br /> <br /> * https://www.youtube.com/watch?v=-W8Rc7Vto6s<br /> <br /> <br /> <br /> ==Selected Bibliography==<br /> <br /> <br /> Agre, P. 1997. Toward a Critical Technical Practice: Lessons Learned in Trying to Reform AI. In Beyond the Great Divide: Social Science, Technical systems, and Cooperative work, edited by. Bowker, G. C., Gasser, . L., Star, S. L. and Turner, W. Mahwah, NJ: Erlbaum: 131–58. <br /> <br /> Beacham, R. 2012. ‘Observations of Staging the Ludi Virtuales’, edited by Thorsen et al., Greek and Roman Games in the Computer Age, Trondheim: NTNU Press: 109-24.<br /> <br /> Betts, E. 2011. ‘Towards a Multisensory Experience of movement in the City of Rome’, Rome, Ostia and Pompeii: Movement and Space, edited by Laurence, R. and Newsome, D. Oxford: Oxford University Press: 118-32.<br /> <br /> Betts, E. 2013. ‘Cubrar Matrer: Goddess of the Picenes?’, in Whitehouse R. D. and Wilkins, J. B. (eds.) Accordia Research Papers 12, London: Accordia Research Institute, University of London.
<br /> <br /> Butler. S. and Purves, A. 2013. Synaesthesia and the Ancient Senses, Durham: Acumen. <br /> <br /> Chion, M. 1994. Audio-Vision: Sound on Screen. New York, NY: Columbia University Press. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, D. 2003. ‘Image-Based Techniques for Enhancing Virtual Reality Environments’, Proceedings in Arts and Cultural Heritage 2nd International Workshop on ICTs, Athens: Art Nouveau: 61-71. <br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2004. ‘The Ancient Olympic Games: Being Part of the Experience’, International Symposium on Virtual Reality, Archaeology and Intelligent Cultural Heritage, Athens: VAST: 19-28.<br /> <br /> Christopoulos, G. Gaitatzis, A. and Papaioannou, G. 2005 ‘Virtual Reality Systems and Applications: The Ancient Olympic Games’, Proceedings of the 10th Panhellenic Conference on Informatics, Thessaly: University of Thessaly Press: 155-165.<br /> <br /> Classen, C. 1997. ‘Foundations for an Anthropology of the Senses’, International Social Science Journal 49 (153): 401–12.
<br /> <br /> Crary, J. 1988. ‘Modernizing Vision’, in Vision and Visuality, edited by Foster. H. Seattle: Bay Press: 29–44.<br /> Drobnick, J. 2006. ‘Introduction: Olfactocentrism’ in The Smell Culture Reader edited by Drobnick, J. Oxford: Berg: 1-9.<br /> <br /> Dewey, J. (1980) Art as Experience, New York: Perigee. <br /> <br /> Dunne, A. 2005. Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design, Cambridge, MA: MIT Press<br /> Dunn S. 2010. ‘Space as Artefact: A Perspective in Neogeography’, in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey: Ashgate: 53-72.
<br /> <br /> Favro, D. 1996. The Urban Image of Augustan Rome, Cambridge: Cambridge University Press.<br /> <br /> Favro, D. 2006. ‘In the Eyes of the Beholder: Virtual Reality Re-creations and Academia’, in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology: 321-34.<br /> <br /> Foka, A. (2015, forthcoming) “Towards a Critical Making of Sound (and other Senses) for Roman Popular Entertainment”. in Multisensory Antiquity Betts, E. and Graham, E.J. London: Ashgate. <br /> <br /> Forte M. and Siliotti, A. 1997. Virtual Archaeology: Re-Creating Ancient Worlds, New York: HN Abrams. <br /> <br /> Forte, M. Campana, S. 2006. ‘From Space to Place’, Proceedings of the 2nd International Conference on Remote Sensing in Archaeology, BAR International Series 1568, Oxford: Archaeopress.<br /> <br /> Forte, M. (ed) 2010. Cyber Archaeology, BAR International<br /> Series 2177, Oxford: Archaeopress.<br /> <br /> Frischer, B., Abernathy, D., Giuliani, F. C., Scott, R. T., and Ziemssen, H. 2006. ‘A New Digital Model of the Roman Forum’ in in Imaging Ancient Rome edited by Haselberger, L. and Humphrey, J., Portsmouth, RI: Journal of Roman Archaeology, 163-82.<br /> <br /> Gade, A. C. &amp; Angelakis, K. 2006. ‘Acoustics of ancient Greek and Roman theaters in use today' Acoustical Society of America. Journal vol 120, no. 5: 3148.<br /> <br /> Galloway, A. R. 2004. ‘Social Realism in Gaming’, Game Studies, New York.<br /> <br /> Giaccardi, G. et al 2012. Digital Heritage and Social Media, New York: Routledge. <br /> <br /> Gruen, E. 2011. Roman History: Early to Republic: Oxford Bibliographies Online Research Guide, Oxford: Oxford University Press. <br /> <br /> Harvey, S. A. 2006. Scenting Salvation; Ancient Christianity and the Olfactory Imagination, Berkeley, CA: University of California. <br /> <br /> Howes, D. 2005. Empire of the Senses: the Sensual Culture Reader, Oxford: Berg. <br /> <br /> Joyce, R. A. with Preucel, R.W. and Lopiparo, J. 2002. The Languages of Archaeology: Dialogue, Narrative and Writing. Oxford: Blackwell.<br /> <br /> Ihde, D. 2005. ‘Auditory Imagination’ in The Auditory Culture Reader edited by Bull, M. Back, L. Oxford: Berg: 61-66.<br /> <br /> Larmour, D. H. J. 2007. ‘Holes in the Body: Sites of Abjection in Juvenal’s Rome’ The Sites of Rome: Time, Space, Memory, edited by in Larmour, D. H. J. and Spencer, D. Oxford: Oxford University Press: 168-210.<br /> <br /> Latour, B. 1986. ‘Visualization and Cognition: Thinking with Eyes and Hands’, in Knowledge and Society: Studies in the Sociology of Culture Past and Present, edited by Kuklick, H. and Long, E. Vol. 6 Greenwich, CT and London: JAI Press: 1–40<br /> <br /> Latour, B. 1999. Pandora’s Hope: Essays on the Reality of Science Studies, Cambridge, MA: Harvard University Press.<br /> <br /> Lindhé, C. 2013. ‘A Visual Sense is Born in the Fingertips’: Towards a Digital Ekphrasis’ Digital Humanities Quarterly, 7(1): 376-82.<br /> <br /> Lyer, A. 2000. ‘Towards an Archaeology of Dance’ in Preservation Politics edited by Jordan, S. Dance Revived, Reconstructed, Remade, London: 141-5. <br /> <br /> Mahony, S. and Bodard, G. 2010. Digital Research in the Study of Classical Antiquity, Surrey: Ashgate. <br /> <br /> Mahony, S. and Bodard, G. 2010. ‘Introduction’ in Digital Research in the Study of Classical Antiquity, edited by Mahony, S. and Bodard, G., Surrey Ashgate: 1-14. <br /> <br /> <br /> Nygren, T, Buckland, P. &amp; Foka, A. (2014). “The Status Quo of Digital Humanities in Sweden: Past, Present and Future of Digital History”. H-Soz-Kult.<br /> <br /> Shanks, M. 2004. ‘Three Rooms: Archaeology and Performance’, Journal of Social Archaeology 4(2): 147–80.<br /> <br /> Sengers, P., K. Boehner, S. David, and J. Kaye. 2005. ‘Reflective Design’. Proceedings of the 4th Decennial Conference on Critical Computing: Between Sense and Sensibility, Aarhus<br /> <br /> Thorsen, T. S. 2012. Greek and Roman Games in the Computer Age, Trondheim: NTNU Press.<br /> <br /> Toner, J. P. 2009. Popular Culture in Ancient Rome, Cambridge: Polity.<br /> <br /> Tuuri, K., Mustonen, M. &amp; Pirhonen, A. 2007. ‘Same Sound – Different Meanings: A Novel Scheme for Modes of listening’. In Proceedings of Audio Mostly 2007 Ilmenau, Germany: Fraunhofer Institute for Digital Media Technology IDMT. 13-18.<br /> <br /> Watson, A. and Keating, D. 1999. ‘Architecture and Sound: an Acoustic Analysis of Megalithic Monuments in Prehistoric Britain’. Antiquity 73: 325-36. <br /> <br /> Webb, R. 2002. ‘Female entertainments in Late Antiquity’, in Greek and Roman Actors, edited by Hall, E. and Easterling P., Cambridge: Cambridge University Press: 282-303. <br /> <br /> Webmoor, T. 2005. Social Software, Science Studies and Mediational Archaeology. Stanford, CA: Metamedia. <br /> <br /> Witmore, C.L. and Adler, J. 2004. New Media Transect: A Peripatetic Engagement with the Past. Stanford, CA: Metamedia.<br /> <br /> Witmore, C.L. 2004. ‘Four Archaeological Engagements with Place: Mediating Bodily Experience through Peripatetic Video’, Visual Anthropology Review 20(2): 57–71. <br /> <br /> Witmore, C.L. 2005. Multiple Field Approaches in the Mediterranean: Revisiting the Argolid Exploration Project. Stanford, CA: Metamedia. <br /> <br /> Witmore, C. L. 2006. ‘Vision, Media Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World’, Journal of Material Culture Vol. 11(3): 267–292<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[category:projects]]<br /> [[category:archaeology]]<br /> [[category:classics]]</div>

AnnaFoka