Electra Atlantis: Digital Approaches to Antiquity

http://planet.atlantides.org/electra

Tom Elliott (tom.elliott@nyu.edu)

This feed aggregator is part of the Planet Atlantides constellation. Its current content is available in multiple webfeed formats, including Atom, RSS/RDF and RSS 1.0. The subscription list is also available in OPML and as a FOAF Roll. All content is assumed to be the intellectual property of the originators unless they indicate otherwise.

July 23, 2016

Archeomatica: Tecnologie per i Beni Culturali

Una nomination Unesco che unisce patrimonio naturale e culturale in Iraq assistita da tecnologie geospaziali

L'Unesco ha nominato le paludi irachene patrimonio dell'umanità, accendendo un punto a favore per un paese dove i jihadisti hanno ripetutamente cercato di cancellare la storia. Molte tecnologie geospaziali hanno giocato un ruolo fondamentale per la costruzione del dossier, appoggiando esperti del soprassuolo e sottosuolo, tramite sistemi informativi geografici, tecnologie di documentazione fotogrammetriche, costruzione di modelli 3D da nuvole di punti, immagini satellitari, cartografia di dettaglio, mappatura della storia tramite le iscrizioni e progetto di conservazione in ambienti ostili.

July 22, 2016

Ethan Gruber (Numishare)

ANS coins from RIC 6-10 published to OCRE, and other updates

Following the release of volumes 6, 7, 8, and 10 to OCRE, we have republished our coins from these volumes to link them into the newly-published coin type URIs. This represents an addition of more than 17,000 physical specimens of late Roman coinage into OCRE, including photographs for more than 3,000 of these (and photographic gaps from previous volumes of RIC). There are now 36,000 Roman imperial coins from the ANS collection in OCRE, and 60,000 in total from all our partners. Including CRRO and PELLA, there are just under 100,000 physical coins aggregated by Nomisma.org's SPARQL endpoint.

In addition to these coins, the Portable Antiquities Scheme provided access to several hundred imperial coins linked to OCRE URIs. The PAS had previously linked its entire collection of Republican coins (nearly 1,000) into CRRO, but the inclusion of imperial material in OCRE is a watershed moment for the study of Roman numismatics. These are the first few hundred of potentially hundreds of thousands of coins published in their database, each with attested findspots. This will have a dramatic effect on geographic analysis of ancient monetary circulation and trade.

The Harvard Art Museums API was also reprocessed. Harvard's coverage of late Roman coinage is quite good, and their contribution to OCRE has more than doubled to 1,300 coins.

Charles Ellwood Jones (AWOL: The Ancient World Online)

Open Access Monograph Series: Estudos de Egiptologia

Estudos de Egiptologia
http://www.seshat.com.br/wp-content/uploads/2014/07/cropped-topo-seshat31.png
O Laboratório de Egiptologia do Museu Nacional é o primeiro Laboratório no Brasil dedicado ao estudo da arqueologia do Egito antigo. Ligado ao Museu Nacional da UFRJ, o Laboratório tem como foco a pesquisa arqueológica da coleção egípcia do museu, a maior da América Latina, e a arqueologia do Egito antigo.

Sob coordenação do Prof. Dr. Antonio Brancaglion, o Laboratório desenvolve diferentes linhas de pesquisa que objetivam a análise dos objetos arqueológicos egípcios, bem como a compreensão da sociedade egípcia em diversos períodos.
Publicações
1) Semna – Estudos de Egiptologia I (2014), orgs. Antonio Brancaglion Jr., Thais Rocha da Silva, Rennan de Souza Lemos e Raizza Teixeira dos Santos, Prefácio: Dr. Chris Naunton, Seshat/Editora Klínē.

Capa Estudos de Egiptologia I SEMNA
(clique na imagem para fazer download)
Sumário
Trabalhos apresentados na I SEMNA não incluídos neste volume
Equipe organizadora da I SEMNA
Lista de autores
Apresentação, os organizadores
Prefácio/Foreword, Chris Naunton (Egypt Exploration Society, Londres)
Auxiliares para o renascimento: estátuas funerárias de Osíris e Ptah-Sokar-Osíris da coleção do Museu Nacional/UFRJ, Simone Bielesch
Para falar aos deuses: estudo das estatuetas votivas da coleção egípcia do Museu Nacional, Cintia Prates Facuri (Museu Nacional, UFRJ)
Tecnologias tridimensionais aplicadas em pesquisas arqueológicas de múmias egípcias, Simonte Belmonte (INT), Jorge Lopes (PUC-Rio/INT) e Antonio Brancaglion Jr (Museu Nacional, UFRJ)
Amarna: pintando uma nova paisagem, Rennan de Souza Lemos (Museu Nacional, UFRJ)
As representações da família real amarniana e a consolidação de uma nova visão de mundo durante o reinado de Akhenaton (1353-1335 a. C.), Gisela Chapot (UFF)
Hierarquia e mobilidade social no antigo Egito do Reino Novo, Nely Feitoza Arrais (UNILASALLE-RJ)
Implicações econômicas dos templos egípcios e a constituição de poderes locais: um estudo sobre o Reino Antigo, Maria Thereza David João (USP)
Sobre a importância da teoria social na egiptologia econômica, Fábio Frizzo (UFF)
Identidade, gênero e poder no Egito Romano, Marcia Severina Vasques (UFRN)
“E me traga essa carta de volta”. As cartas aos deuses e os estudos de gênero no Egito Ptolomaico. Contribuições da antropologia, Thais Rocha da Silva (USP/Museu Nacional, UFRJ)
As estelas funerárias com o morto reclinado em uma cama funerária: etnia, identidade emaranhamento cultural no Baixo Egito durante o Período Romano, Pedro Luiz Diniz von Seehausen (Museu Nacional, UFRJ)
Adriano e o Egito: a construção de um modelo egipcianizante para a Villa Adriana, Evelyne Azevedo (Museu Nacional, UFRJ)

2) Semna– Estudos de Egiptologia II (2015), orgs. Antonio Brancaglion Jr., Rennan de Souza Lemos e Raizza Teixeira dos Santos, Seshat/Editora Klínē.
CAPA SEMNA II(clique na imagem para fazer download)
Sumário
Des hommes et des dieux : une approche anthropologique de la religion Egyptienne, Christiane Zivie-Coche
Homens e deuses: uma abordagem antropológica da religião egípcia, Chistiane Zivie-Coche (tradução: C. A. Gama-Rolland)
Agindo como deuses: um olhar sobre a família real nos relevos amarnianos (1353-1335 a. C.), Gisela Chapot
A divindade Serápis: cultura, religião e sincretismo na Alexandria greco-romana, Joana Campos Clímaco
Expressões materiais da devoção pessoal no Egito antigo, Cintia Prates Facuri
Egipcianização e resistência na Núbia da XVIII Dinastia, Fábio Frizzo
Narrativas da restauração: referências sobre a Reforma Amarniana nos governos sucessores, Vanessa Fronza
A representação real nos shabtis do Novo Império, Cintia A. Gama-Rolland
Amenemope, o coração e a filosofia, ou a cardiografia (do pensamento), Renato Noguera
“Uma inundação no céu para os estrangeiros”” o projeto de expansão da religião de Amarna na Núbia, Regina Coeli Pinheiro da Silva e Rennan de Souza Lemos
A Janela das Aparições e as concepções post-mortem na necrópole de Akhetaton, André Effgen
O que queremos que as mulheres nos escrevam? As cartas demóticas e os estudos de gênero entre a iconografia e a papirologia, Thais Rocha da Silva
La vida y la muerte en la conformación de redes sociales en la necrópolis tebana, Egipto, Liliana Manzi y Maria Victoria Nicora
A Cleópatra de Mankiewicz (1963): imperialismo, eurocentrismo e etnicidade na representação cinematográfica da Antiguidade, Renata Soares de Souza
Um espelho de Kemet: experiência e espaço no Livro dos Mortos, Keidy Narelly Costa Matias
A imagem divina de Menkeret na tumba de Tutankhamun, Raizza Teixeira dos Santos

Open Access Monograph Series: Agora Picture Books

Agora Picture Books











The primary purpose of the Agora Picture Book series is to enliven the experience of a visitor to the Athenian Agora, excavated by the American School since 1931. While drawing on the object and monuments that can be viewed on a visit to the site, these well-illustrated guides attempt to add some human color to the dry material remains. A number of the concise guides have become popular supplementary texts for undergraduate and graduate classes in classical civilization. Since 1998 the Picture Books have been published in color.

1: Pots and Pans of Classical Athens - by Brian A. Sparkes and Lucy Talcott
2: The Stoa of Attalos II in Athens - by Homer A. Thompson
3: Miniature Sculpture from the Athenian Agora - by Dorothy B. Thompson
4: The Athenian Citizen: Democracy in the Athenian Agora - by Mabel Lang, revised by John McK. Camp II
4: The Athenian Citizen: (Modern Greek Edition) - by Mabel Lang, revised by John McK. Camp II, translated by Irini Marathaki
5: Ancient Portraits from the Athenian Agora - by Evelyn B. Harrison
6: Amphoras and the Ancient Wine Trade - by Virginia R. Grace
7: The Middle Ages in the Athenian Agora - by Alison Frantz
8: Garden Lore of Ancient Athens - by Dorothy B. Thompson and Ralph E. Griswold
9: Lamps from the Athenian Agora - by Judith Perlzweig
10: Inscriptions from the Athenian Agora - by Benjamin D. Meritt
11: Waterworks in the Athenian Agora - by Mabel Lang
12: An Ancient Shopping Center: The Athenian Agora - by Dorothy B. Thompson
13: Early Burials from the Agora Cemeteries - by Sara A. Immerwahr
14: Graffiti in the Athenian Agora - by Mabel Lang
15: Greek and Roman Coins in the Athenian Agora - by Fred S. Kleiner
16: The Athenian Agora: A Short Guide to the Excavations - by John McK. Camp II
16: The Athenian Agora: A Short Guide to the Excavations (Modern Greek) - by John McK. Camp II
17: Socrates in the Agora - by Mabel Lang
18: Mediaeval and Modern Coins in the Athenian Agora - by Fred S. Kleiner
19: Gods and Heroes in the Athenian Agora - by John McK. Camp II
20: Bronzeworkers in the Athenian Agora - by Carol C. Mattusch
21: Ancient Athenian Building Methods - by John McK. Camp II and William B. Dinsmoor Jr.
22: Birds of the Athenian Agora - by Robert D. Lamberton and Susan I. Rotroff
23: Life, Death, and Litigation in the Athenian Agora - by Mabel Lang
24: Horses and Horsemanship in the Athenian Agora - by John McK. Camp II
25: The Games at Athens - by Jenifer Neils and Stephen V. Tracy
26: Women in the Athenian Agora - by Susan I. Rotroff and Robert D. Lamberton
27: Marbleworkers in the Athenian Agora - by Carol L. Lawton

Cappelli Online

Cappelli Online

 
Die Daten des  Cappelli online wurden durch Crowdsourcing unter Einsatz vieler freiwilliger Helferinnen und Helfer aufgenommen. Trotz sorgfältiger Kontrolle durch eine Expertengruppe können vereinzelt Fehler vorkommen. Schreibweisen und somit auch allfällige Unstimmigkeiten wurden exakt nach gedrucktem Cappelli in die Online-Version übernommen. Für jedes Abkürzungsbild steht das Digitalisat der entsprechenden Cappelli-Seite zur Verfügung (durch Klick auf die neben dem Bild stehende Seitenzahl in der Auswahlliste). Somit kann direkt aus Ad fontes zitiert werden.

Der Cappelli zum Durchblättern und Durchsuchen ist noch im Beta–Test!

Das nach seinem Autor Adriano Cappelli benannte Standardwerk «Lexicon abbreviaturarum» enthält lateinische und italienische Abkürzungen mittelalterlicher Texte. 

Lexicon abbreviaturarum. Dizionario di abbreviature latine ed italiane. Mailand 6. Aufl. 1961 (ND: Mailand 1990).
Der Cappelli lässt sich online in Ad fontes (Ressourcen, Abkürzungen) durchsuchen.

Notice via DM-L
 In October 2015, the University of Zurich hosted the Cappelli-Hackathon, a very successful crowd sourcing project, during which all 14'357 abbreviations collected in Adriano Cappellis' «Lexicon abbreviaturarum» were digitally registered and systematised through a specifically for the task designed web interface. Since then, the registered abbreviations have been checked and – where necessary – corrected through expert validation. They are as of now freely available, either as part of the Ad fontes platform (Cappelli online) or through the new app, App fontes.
The search interface not only allows to search by the readable letters, with the possiblity to set wildcards for non-identifiable characters, but also to search by visual criteria. Through the use of a 3x3 grid, the abbreviations have been systematised by the placement of abbreviation marks and other visual features; user may now use this grid in the search interface to help them find results.
Thus, the project allows a better and easier way to access the «Cappelli», an invaluable tool for everyone working with handwritten sources. Since «Ad fontes» offers also a link to the digitised original page, it is even possible to cite from the «Lexicon abbreviaturarum» using the project.

P.S.: The data as well as the pictures can be downloaded (http://www.adfontes.uzh.ch/5232.php)

Robert Consoli (Squinches)

Mykémon-Go


"A world without Pokemon would be less stable
and more dangerous for all of us."
From the site pokemon-ash-quotes


Recently we've been reading a lot of stories about Pokémon-Go which is an augmented-reality game that uses your smartphone to populate the world with creatures that you 'capture'.  Like most computer applications it is a sublime illusion - even a work of art.   Of course it's also moronic as the above quote illustrates but, nonetheless, I can't resist wondering how far the augmented-reality idea can be pushed.  Now I don't know how the Pokémon software actually functions  but my experience in computer project design at a large free-world defense manufacturer suggests the following (some of these things I know and I'm guessing about the others).

Pokémon-go is a client-server application.  Most of the game (the GPS, the software that decodes your swipes, the melding of the Pokémon creatures with your smartphone camera images) runs on the client application which is running on your smartphone.  The server side (as nearly as I can figure out) runs a giant database of locations around the world along with the Pokemon figures that 'inhabit' the various real-world locations.   The client (your smartphone) communicates with the server in order to download a chunk of the DB world that corresponds to where you actually are.  This includes the creatures and their exact locations.  As you move away from where you currently are your phone continues to communicate with the server in order to download new chunks of data from the mother DB.   The origin of this DB was an earlier game called 'Ingress' which resembled the current Pokémon-Go.  The DB created by the designers of Ingress was augmented by more than fifteen million user submitted locations of which the Ingress people chose five million.   Because one of the complaints about the game is sparsity of coverage in some areas I'm  sure that the makers of Pokémon-Go are continuing this process of DB augmentation.  I'm not sure whether your Pokémon-Go client communicates any information about the current state of your game-play back to the server; I can't think of any reason why it would do that.  The server, I think, is purely DB.  The rest is in the client - your phone.

To develop a client application of this kind requires a smartphone development environment (pretty sure).  Part of that environment would be access to the GPS, Google Maps, camera, and swipe software APIs (Application Programmer Interfaces) that those several software packages provide.  These APIs are basically just packages of software calls to the underlying GPS, etc. software that the programmer can use in his new client code.  It's this that makes it possible to write a client app that uses those services.  It's only a matter of time - in fact it's probably already possible - to gain access to such software and write your own augmented reality applications.  I'm too lazy to find out.

If your intended application was to work you'd also have to write the server side which, as I suggested above, serves chunks of the DB.  The server is mounted on a server platform (which would be a computer with internet access) on a 24/7 basis.  Most of the required code for the server side is already publicly available.  Those are the basic ingredients.

Ingredients for what?

Well, I have currently a DB of nearly 900 Mycenaean find spots and I haven't even tackled Attica yet.  Imagine that you're travelling around Greece with your smartphone and you want to know if you're near a place that Mycenaean artifacts have been found.  Well, you just fire up your Mykémon-Go client and you'll quickly know whether you're close to any interesting locations because you'll see icons that you follow to reach the site and they would be automatically superimposed on pictures from your phone-camera.  Such an application could exist in many configurations.  When field walkers do an intensive survey of a large area and find artifacts they could use a software application mounted on a smartphone that pin-point the exact location of every sherd, foundation, or wall that they find (at least I think that this is what happens on the best-equipped efforts).  A form of Mykémon-Go would make it possible to pin-point these locations again by simply showing them on a smartphone whenever researchers again came near.  I suspect that there are a large number of augmented reality applications that Mycenologists could use to their advantage.  

We'll be seeing a lot more of this in the future.  If you have ideas about the use of augmented reality in any of the historical disciplines then I'd like to hear about them.  And follow me on Twitter: @Squinchpix.  Also on Google+, I'm 'Robert Consoli'


Until next time.


Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

A curious bibliography: Angelo Uggeri and his “Journées pittoresques”, “Ichnografia”, “Icnografia degli Edifizj” etc

The most accessible early account, of the discovery of an ancient house in the grounds of the Villa Negroni in Rome, is by Camillo Massimo in 1836.  But for his source, Massimo refers to a mysterious volume which is online, but nearly impossible to find.

Massimo writes:

Una esatta descrizione di quattro delle suddette Camere, coi colori di tutt’ i loro ornamenti , e cen i menomi lor dettagli minutamente indicati si trova inserita nel 3. Volume dell’ Icnografia degli Edifizi di Roma antica, pag. 55. e aeg. opera dell’ Abb. Uggeri, il quale nelle Tavole XIV . XV , XVl, e XVII, diede pure le incisioni a contorno delle Pitture di quelle quattro Stanze; e nel Volume II. Tav. XXIV. fig, 1, riprodusse in piccolo la pianta dell’ intero Palazzina con le sue dimensioni, e con l‘ indice delle pitture in esso rimanenti, la descrizione delle quali si  trova anche nel citato Manifesto stampato in quell’occasione in un foglietto volante divenuto assai raro, e nella seconda Edizione della Roma antica di Ridolfino Venuti coll’ aggiunte di Stefano Piale Par. 1. cap. V, pag. 125.

Search as you will: you will not locate this volume.  You may think “icnografia” is an odd word, and make it “iconografia” but you will be no further forward.  As I remarked a couple of days ago, Lanciani quotes the title as “Iconografia degli Edifizi di Roma antica“, but this too does not help.

After a great deal of searching into the night, I have finally solved the mystery.

It seems that Angelo Uggeri was, to be frank, a complete idiot.  He self-published his works.  And he decided that giving them title pages was unnecessary.  Yes, that’s right.  You can find a volume online, and look through it, and still have no idea what the thing is titled.  Sometimes he shyly had a page which indicated his authorship – in a cursive, hard-to-read handwriting, not printed.

The volumes that I have found, all of them, belong to a series:

Journées pittoresques des édifices de Rome ancienne / Giornate pittoresche degli edifizi antiche de circondari di Roma

The text in these is in two columns, one French, one Italian.  A search for “Journées pittoresques” will return results.  But Uggeri’s maddening habit of leaving out titles means that you will not be that sure of what you have found.  A search in the French National Library site, Gallica, will return only three titles.

Curiously it was the Europeana portal that saved me.  This search gives a list of 10 volumes, all at the BNF, with no distinction of volume number or title.  They all have the same cover.  Many have the same endpapers.  You actually have to look through them to find out what’s in there.

But, blessedly, pasted onto the endpapers of one, I found this slip:

uggeri_index

There are two series, each with volume numbers.  In fact some of the “volumes” are also divided into two, one containing the plates, and the other with the text.  I had to download almost the entire collection to find what I wanted.  For my own sanity, and yours if you pass this way, here are the volumes that you need for the Villa Negroni.  I give the link to the BNF for the volume, and attach a PDF of the relevant pages.

The scans are not very high resolution, it must be said.  The volume 2 floor plan is too small to read the scale, for instance.  Let us hope that a German library like Arachne scan some volumes.

From all this we learn that the actual title of volume 2, insofar as there was one, was “Ichnografia”! But I suggest we always refer to Journées pittoresques and specify the series, Rome.

The other two sources given by Massimo deserve a mention, while we are discussing bibliographical mazes.

The “manifesto” is actually a printed flyer, by Camillo Buti, proposing the publication of the frescoes of the house, and including a couple of samples, and a floor plan.  This is the very earliest account.  It is indeed extremely rare, and, as far as I can tell, not online.  But I learn from an article by H. Joyce[1] that “Copies of the Buti Manifesto are in the British Library, Department of Manuscripts, Add. Ms 35378, fols. 316-17, and the Victoria and Albert Museum, Department of Paintings, Tatham Album, p. D. 1479 – ’98. /2”.  Doubtless other copies are around.

The “Roma antica of Ridolfino Venuti with the additions of Stefano Piale” is another vague title.  Volume 2 of the first edition is here at Arachne.  The actual title is “Accurata, e succinta descrizione topografica delle antichità di Roma”, printed in 1763 – too early.  Volume 1 of the third edition (1824) of the Stefano Piale re-edition is at Google Books here; volume 2 here.  The text referred to is in vol.1, chapter 5, p.169 f.  But it contains nothing of special interest.  (Update: 2nd ed., 1803, vol.1, p.125 is here).

One final item is mentioned by Joyce.  It too is not online, and indeed sounds very inaccessible:

The architect Camillo Buti was quickly called in to make a plan of the house. Buti published the plan in 1778, along with a brief description of the rooms, in his Manifesto announcing the publication of the first two in a series of engravings of the house’s paintings.(5) An early annotated version of the plan drawn by someone present in the early stages of the excavation (the excavation is shown and described as incomplete) is now in the Townley collection of “Drawings from Various Antiquities” in the British Museum.(6)

6.  Although the Townley plan is incomplete, it includes information about the house’s decoration not given in any published source. I am grateful to Donald Bailey of the Department of Greek and Roman Antiquities for locating this drawing and supplying me with a copy.

The invaluable Joyce article – which I obtained today – makes plain that the Townley plan is of the highest importance.  It alone tells us, for instance, that the entrance door to the villa had a window above the door.  The “blank wall” facing the door in fact had three niches for statues in it – “Ingresso principale nella casa dipinto con Architetture e nichie di relievo dipinte dentro.”  And so on.

Fortunately the Townley papers are in the British Museum, and a Google search shows that the museum has a research project to catalogue them and place them online.  Well done, the British Museum.

  1. [1] H. Joyce, “The Ancient Frescoes from the Villa Negroni and Their Influence in the Eighteenth and Nineteenth Centuries”, The Art Bulletin 65 (1983), 423-440. JSTOR.

Archeomatica: Tecnologie per i Beni Culturali

Mindful Hands. Capolavori miniati in mostra con installazioni e riproduzioni multimediali

Si intitola Mindful Hands. I capolavori miniati della Fondazione Giorgio Cini la grande mostra in programma sull’isola di San Giorgio Maggiore a Venezia dal 17 settembre 2016 all’8 gennaio 2017 (inaugurazione venerdì 16 settembre 2016), prodotta da Fondazione Giorgio Cini, Studio Michele De Lucchi e Factum Arte e realizzata grazie al supporto di Helen Hamlyn Trust e al contributo di Pirelli. Verrà esposta per la prima volta dopo oltre 35 anni più della metà di una delle collezioni più importanti e preziose custodite dalla Fondazione Cini: la raccolta di 236 miniature acquisita dal conte Vittorio Cini tra il 1939 e il 1940 dalla Libreria Antiquaria Hoepli di Milano e donata alla Fondazione nel 1962.

Bill Caraher (The New Archaeology of the Mediterranean World)

Friday Quick Hits and Varia

It’s been a while, but I am getting back into the swing of blogging this summer. In other words, I feels like it’s time for a few quick hits and varia.

It’s good sports weekend with the F1 chaps at Hungaroring, the NASCARlers at the Brickyard, and Indy Car in Toronto. If you’re a real sports fan, though, you’re getting up early to watch England v. Pakistan in cricket. Pakistan took the first test in the series at Lords. If this test series isn’t being read as a critique of England’s conflicted history with its colonial past, then people don’t know how to read sports as politics.  

Lots of ways to deal with the frog days of summer.

IMG 5203

IMG 5240

IMG 5251


Archeomatica: Tecnologie per i Beni Culturali

Art & Archaeology2016: Conferenza Internazionale su tecniche di misura per l'arte e l'archeologia

Dall'11 al 14 Dicembre 2016 si svolgerà a Gerusalemme, in Israele, la seconda Conferenza Internazionale Art & Archaeology sul tema "Art and Archaeology Strengthened by Measurement Techniques".

Nasce il Forum- Italia Cina per promuovere i beni culturali e lo scambio di esperienze e tecnologie

È stato firmato a Pechino un importante atto internazionale che sancisce la nascita del Forum Culturale Italia-Cina che permetterà di aumentare gli scambi e le collaborazione tra musei, teatri, fondazioni, grandi festival ma anche di favorire scambi di esperienze e tecnologie nella tutela e restauro dei beni culturali e nella promozione delle coproduzioni cinematografiche.

Charles Ellwood Jones (AWOL: The Ancient World Online)

Open Access Journal: Thersites: Journal for Transcultural Presences & Diachronic Identities from Antiquity to Date

Thersites: Journal for Transcultural Presences & Diachronic Identities from Antiquity to Date
ISSN: 2364-7612
http://www.thersites.uni-mainz.de/public/journals/1/homeHeaderTitleImage_de_DE.png
thersites is an international open access journal for innovative transdisciplinary classical studies founded in 2014 by Christine Walde, Filippo Carlà and Christian Stoffel.
  • thersites expands classical reception studies by reflecting on Greco-Roman antiquity as present phenomenon and diachronic culture that is part of today’s transcultural and highly diverse world. Antiquity, in our understanding, does not merely belong to the past, but is always experienced and engaged in the present.
     
  • thersites contributes to the critical review on methods, theories, approaches and subjects in classical scholarship, which currently seems to be awkwardly divided between traditional perspectives and cultural turns.
     
  • thersites brings together scholars, writers, essayists, artists and all kinds of agents in the culture industry to get a better understanding of how antiquity constitutes a part of today’s culture and (trans-)forms our present.


See AWOL's full List of Open Access Journals in Ancient Studies

July 21, 2016

Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

A visit to the ancient Roman house in the Villa Negroni – rooms A and B

Let’s return to 1777, and continue our visit to the ancient Roman house uncovered in the fields of the Villa Negroni.

We shall descend into the pit, ably drawn by our English friend Thomas Jones.  It’s rather damp down there!  Since we’ve not been here before, I attach at the end the floor plan.

We stand at the entrance to the house.  This consists of a porch supported by two columns.  Through the doorway is a plain painted room.  A doorway to the left shows a staircase.  We shall go through the door in the right-hand wall, into another room, painted, but with marvellous paintings.

The roof is vaulted, so the tops of the paintings are semi-circular.  It contains two paintings, in fact.  These are being recorded by an artist, a Mr Mengs, for printing.

The first is a picture of Adonis, preparing to go hunting.  Click on the picture to see the full size image.[1]

Villa Negroni: Adonis setting out on a hunt.

Plate 4: Villa Negroni: Adonis setting out on a hunt.

Also in the room is another picture of Adonis, this time dying in the arms of Venus.[2]

Villa Negroni: Adonis dying in the arms of Venus

Plate 2: Villa Negroni: Adonis dying in the arms of Venus

Sadly the ceiling is missing, but I am assured that the artist will try to represent the end of the barrel-vaulted room, and the curved panels on either side, accurately.

Another depiction may be found at Wikimedia Commons:[3]

Villa Negroni: Adonis dying in the arms of Venus.

Plate 2: Villa Negroni: Adonis dying in the arms of Venus.

Here is the 1836 map:

Floor plan of the ancient house discovered in 1777 at the Villa Negroni

Floor plan of the ancient house discovered in 1777 at the Villa Negroni

The printed volume of plates was uncoloured, with the intention that they should be hand-coloured.  The shades of the colours naturally vary in different copies, therefore.

  1. [1] This from the Wellcome Trust, via Wikimedia Commons.
  2. [2] Noemi Cinelli, “‘Restrained brightness and archaic purity”: Fascination from the antiquity in the age of enlightenment: Villa Negroni’s frescoes in Rome: models of good taste according to Mengs and Azara”, European Review of Artistic Studies 4 (2013), 42-61. Online here, printing a copy from Seville.  Note that the plate number, from the publication, is in the bottom left or bottom right.
  3. [3] Again from the Wellcome Trust.  There is another image here, from a commercial site.

The Bloodsucker Award, July 2016 – the Royal Institute of British Architects

In my last post, I quoted the Tate Gallery catalogue for Thomas Jones’ 1777 painting of the excavations of the Roman house in the Villa Negroni.  This referred to drawings and a plan by a certain Thomas Hardwick, in the “RIBA collection”.

Well!  Thanks to Google, I have discovered what the “RIBA” might be – it is the Royal Institute of British Architects.    I quickly found one of Thomas Hardwick’s drawings here. But to my surprise, this seems to be a commercial site, run by the RIBA.

Also online was a low-resolution drawing of the floor plan of the house, at the same site here.  The image online is too small to read the scale (in palma Romani).  There are also letters on the image – but no key, so I assume that the information must be elsewhere in the papers.

This is rather sad.  I thought that we were past the stage at which petty officials in national bodies tried to extort small but prohibitive sums of cash from members of the public who wanted to use them on ordinary blogs or websites.  Everybody knows that people like me have no revenue stream, so we aren’t going to buy these things.  And anyway, there is actually no copyright on items this old.  But it seems that the news has not reached the RIBA.

I did follow the prompts, to see what they would demand.  Note how this makes clear that I am just some guy.

How much do I think you are worth, boy?

How much do I think you are worth, boy?

From this I find that the RIBA – assuming it is them – want me to pay them $150 for a licence to use the image.  How kind.  Oh, and that “license” lasts only for five years.

No, thank you.  Instead I shall do something that I have not done for some years.  I shall award them the Bloodsucker Award.

For newer readers, this rare award has not been given in some years now.  It is given only to those organisations who adopt stupid, greedy, pointless dog-in-the-manger attitudes to the dissemination of knowledge.  The criterion is that they demand money to permit access to material that they exist to preserve for the nation; that the material is of no actual commercial value; and that the demand effectually serves to prevent knowledge, while raising no money.

Gentlemen … we have a winner.

Awarded: the July 2016 Bloodsucker Award goes to the Royal Institute of British Architects, for obstructing public access to, and knowledge of, the papers and drawings of the 18th century architect Thomas Hardwick.

Charles Ellwood Jones (AWOL: The Ancient World Online)

Open Access Journal: Hellenistic Poetry Newsletter: Lettre d'information sur la poésie hellénistique

Hellenistic Poetry Newsletter: Lettre d'information sur la poésie hellénistique
Le carnet de recherche Hellenistic Poetry Newsletter, qui fait suite à la lettre électronique de diffusion créée par Christophe Cusset en 2005, à la suite d'une demande qui s'était manifestée lors d'un Workshop sur la Poésie Hellénistique à Groningen, entend offrir une information régulière de toute l'activité de recherche dans le domaine de la poésie hellénistique (et impériale). Il s'agit d'apporter une information brute sur les nouvelles parutions (ouvrages, articles, communications), sur les colloques, conférences, congrès et journées d'études, sur les nouvelles thèses, sur les offres de poste (post-doc, allocations de thèse etc.) liées à la poésie hellénistique, sur les appels à communication ou toute manifestation scientifique en lien avec ce domaine de recherche.

The Hellenistic Poetry Newsletter, which follows the electronic mailing list created by Christophe Cusset in 2005, following a request which was manifested in a Workshop on Hellenistic Poetry in Groningen, intends to offer regular reporting of all research activity in the field of Hellenistic (and Imperial) poetry. This is to provide raw information on new publications (books, articles, papers) on seminars, conferences, congresses and workshops, on new theses on this topic, on offers of positions (post-doc, allowances thesis etc.). related to Hellenistic poetry, on calls for papers or scientific event in connection with this research field. 

Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

A visit to the Roman house at the Villa Negroni

Imagine that the year is 1777.  Let’s go to the open fields to the east of the Baths of Diocletian.   I hear that a Roman house has been discovered in the fields of the Villa Negroni!

The house lies between the Viminal and Esquiline hills.  As we approach from the north-east side, we can see the diggings.  Beyond, in the distance, is the convent of St. Eusebio.  An English artist is painting the scene…

Thomas Jones, "An Excavation of an Antique Building in a Cava in the Villa Negroni, Rome", 1777 or 1779.

Thomas Jones, “An Excavation of an Antique Building in a Cava in the Villa Negroni, Rome”, 1777 or 1779.

The artist is, in fact, a certain Thomas Jones.[1]  Jones recorded in his ‘Memoirs’ under 5 July 1777, that he went to see the excavation with Henry Tresham, an art dealer who acted for Lord Bristol:

 Went with Tresham to see the Antique Rooms just discovered, by digging for antient Bricks, in the Villa Negroni – The painted Ornaments much in the Chinese taste – figures of Cupids bathing &c and painted in fresco on the Stucco of the Walls – The Reds, purples, Blues & Yellows very bright – but had a dark & heavy effect – NB Tresham made a purchase of these paintings for 50 Crowns, to be taken off the walls at his Own Expence-.

The Tate Gallery catalogue also notes that:

Thomas Hardwick, another friend of Jones, made a ground-plan of the ‘antique Rooms’ and recorded the wall-paintings in a cross-section drawing (both in the RIBA collection).

I wonder where these are; indeed what the “RIBA collection” might be.

The plan of the house given by Count Massimo in 1836 is worth repeating here:

Floor plan of the ancient house discovered in 1777 at the Villa Negroni

Floor plan of the ancient house discovered in 1777 at the Villa Negroni

Unfortunately this does not indicate North; and even with the picture and the plan, it is not clear what we are looking at.

I’ve zoomed in a bit, and we can see some more details:

Thomas_Jones_-_Fouilles_à_la_Villa_Montalto_Negroni - excpt

Note the pair of columns in the right of centre.  From the map, these must be the pair at the entrance; or perhaps the pair at the entrance to room F.

But note also how the rooms have vaulted ceilings, so that the tops of the paintings must be semi-circular.

Finally note that the room to centre left is plainly not the ground floor – there is a further vault below it.  There is no mention in any source of anything much remaining of the upper floor, so this is not consistent with those accounts.

It’s very easy to see why scholars, faced with a mess like this, went on to demand proper scientific recording of such excavations.

  1. [1] Thomas Jones, 1742–1803.  Tate Gallery has information here (without photo) and the catalogue here.  The image given is from Wikimedia Commons here.

Charles Ellwood Jones (AWOL: The Ancient World Online)

One Off Journal Issues: Special issue on mummy studies (Papers on Anthropology, Vol 23, No 1 (2014))

Special issue on mummy studies (= Papers on Anthropology [ISSN 1406-0140 (print), ISSN 1736-7646 (online), Vol 23, No 1 (2014)])
Page Header

Editorial

Dario Piombino-Mascali, Rimantas Jankauskas
PDF
5

Articles

Stephanie D. Atherton-Woolham, Lidija M. McKnight
PDF
9-17
Janet Davey, Pamela J. G. Craig, Olaf. H. Drummer
PDF
18-28
Jasmine Day
PDF
29-44
Alison Marissa Brooks Garcia, Ronald G. Beckett, James T. Watson
PDF
45-62
Heather Gill-Frerking
PDF
63-75
Guinevere Granite, Andreas Bauerochse
PDF
76-86
Anastasia Karamanou, Maria Stefanidou
PDF
87-96
Lidija M. McKnight, Natalie C. McCreesh, Andrew Gize
PDF
97-107
Lidija M. McKnight, Robert D. Loynes
PDF
108-117
Dario Piombino-Mascali, Justina Kozakaitė, Algirdas Tamošiūnas, Ramūnas Valančius, Stephanie Panzer, Rimantas Jankauskas
PDF
118-126
Dario Piombino-Mascali, Lidija M. McKnight, Rimantas Jankauskas
PDF
127-134
Mi Kyung Song, Dong Hoon Shin
PDF
135-151


Cooper-Hewitt Labs

Exhibition Channels on Cooperhewitt.org

There’s a new organizational function on cooperhewitt.org that we’re calling “channels.” Channels are a filtering system for WordPress posts that allow us to group content in a blog-style format around themes. Our first iteration of this feature groups posts into exhibition-themed channels. Subsequent iterations can expand the implementation of channels to broader themed groupings that will help break cooperhewitt.org content out of the current menu organization. In our long-term web strategy this is an important progression to making the site more user-focused and less dictated by internal departmental organization.

The idea is that channels will promote browsing across different types of content on the site because any type of WordPress post—publication, event, Object of the Day, press, or video—can be added to a channel. Posts can also live in multiple channels at once. In this way, the channel configuration moves us toward our goal of creating pathways through cooperhewitt.org content that focus on user needs; as we develop a clearer picture of our web visitors, we can start implementing channels that cater to specific sets of users with content tailored to their interests and requirements. Leaning more heavily on posts and channels than pages in WordPress also leads us into shifting our focus from website = a static archive to website = an ever-changing flow of information, which will help keep our web content fresher and more engaged with concurrent museum programs and events.

Screenshot of the Fragile Beasts exhibition channel page on cooperhewitt.org

The Fragile Beasts exhibition channel page. Additional posts in the channel load as snippets below the main exhibition post (pictured here). The sidebar is populated with metadata entered into custom fields in the CMS.

In WordPress terms, channels are a type of taxonomy added through the CustomPress plugin. We enabled the channel taxonomy for all post types so that in the CMS our staff can flag posts to belong to whichever channels they wish. For the current exhibition channel system to work we also created a new type of post specifically for exhibitions. When an exhibition post is added to a channel, the channel code recognizes that this should be the featured post, which means its “featured image” (designated in the WordPress CMS) becomes the header image for the whole channel and the post is pinned to the top of the page. The exhibition post content is configured to appear in its entirety on the channel page, while all other posts in the channel display as snippets, cascading in reverse chronological order.

Through CustomPress we also created several custom fields for exhibition posts, which populate the sidebar with pertinent metadata and links. The new custom fields on exhibition posts are: Exhibition Title, Collection Site Exhibition URL, Exhibition Start Date, and Exhibition End Date. The sidebar accommodates important “at-a-glance” information provided by the custom field input: for example, if the date range falls in the present, the sidebar displays a link to online ticketing. Tags show up as well to act as short descriptors of the exhibition and channel content. The collection site URL builds a bridge to our other web presence at collection.cooperhewitt.org, where users can find extended curatorial information about the exhibition.

Screenshot of the sidebar on the <em>Fragile Beasts</em> exhibition channel page.

The sidebar on the Fragile Beasts exhibition channel page displays quick reference information and links.

On a channel page, clicking on a snippet (below the leading exhibition post) directs users to a post page where they can read extended content. On the post page we added an element in the sidebar called “Related Channels.” This link provides navigation back to the channel from which users flowed. It can also be a jumping-off point to a new channel. Since posts can live in multiple channels at once this feature promotes the lateral cross-content navigation we’re looking to foster.

Screenshot of sidebar on a post page displaying Related Channel navigation.

The sidebar on post pages provides “Related Channel” navigation, which can be a hub to jump into several editorial streams.

Our plan over the coming weeks is to on-board CMS users to the requirements of the new channel system. As we launch new channels we will help keep information flowing by maintaining a publishing schedule and identifying content that can fit into channel themes. Our upcoming exhibition Scraps: Fashion, Textiles and Creative Reuse will be our first major test of the channels system. The Scraps channel will include a wealth of extra-exhibition content, which we’re looking forward to showcasing with this new system.

My mock-up for the exhibition channel structure and design. Some of the features on the mock were knocked off the to-do list in service of getting an MVP on the live site.

My mock-up for the exhibition channel structure and design. Some of the features on the mock were knocked off the to-do list in service of getting an MVP on the live site. Additional feature roll-out will be on-going.

The Signal: Digital Preservation

Co-Hosting a Datathon at the Library of Congress

Photo of about 20 people sitting at computers in a meeting room.

Archives Unleashed teams at wrap-up, day one. Photo by Jaime Mears.

On June 14 and 15, the Library of Congress hosted Archives Unleashed 2.0, a web archive “datathon” (otherwise known as a “hackathon,” but apparently any term with the word “hack” in it might sound a bit menacing) in which teams of researchers used a variety of analytical tools to query web-archive data sets in the hopes of discovering some intriguing insights before their 48-hour deadline is up. This was the second instance of this event- the University of Toronto hosted the first in March 2016- in what organizers plan to be a regular occurrence.

Why host a datathon?

For organizers Matthew Weber, Ian Milligan and Jimmy Lin, seasoned data scholars and educators, Archives Unleashed is an exercise in balancing discussion and practice — or what Milligan calls yacking and hacking — to help improve web archive research. The text on the Archives Unleashed website states, ”This event presents an opportunity to collaboratively unleash our web collections, exploring cutting-edge research tools while fostering a broad-based consensus on future directions in web archive analysis.”

Photo of writing on a white board about file types.

Team Museum’s URL text analysis of mimetypes found on museum websites. Photo by Jaime Mears.

But what is the value for the host institution – the Library of Congress or any other? There are actually many unique benefits; here are a few:

  • New patterns of information emerged from the web archives.
  • We networked with data scholars and, perhaps even more important, learned what we can do to support sophisticated technological research. (It helps the discovery process if staff members participate alongside researchers)
  • We collaborated across divisions within the Library of Congress and discovered areas of shared common interests. National Digital Initiatives was the main point of contact for event hosting, Library Services (which makes Library of Congress collections available) provided the data sets and the John L. Kluge Center and the Law Library provided content expertise and additional support.
  • We got our colleagues excited about the potential use of our collections and this emerging research service.

Even if none of these points are relevant for your institution, think of this exposure as a way to begin familiarizing your institution with the future of historical research. As Milligan said in his pre-workshop presentation, you “can’t do a faithful historical study post 1996 without web archives.”

Photo of computer engineers at work.

Team Turtle. Photo by Jaime Mears.

What do you need to host a datathon?

  • Technical experts. Weber, Lin, and Milligan provided support to researchers throughout the process, from feedback on initial proposals to technical support with tools and unruly data sets. If you don’t have anyone on staff to fill this role, look outside your staff for technical experts to partner with you.
  • Data sets. Not to be underestimated, data sets are the heart of the datathon. You don’t need to know everything about the data sets you serve (that’s what the researchers will provide), but the data sets need to be fairly small so they can be moved around easily (ours were no more than 10 GB each). It’s important to prepare effective messaging about the data sets in order to entice attendees to use them. If there are use restrictions associated with the data sets, you  may need to prepare release statements for the researchers to sign.
  • Content experts. This is where your library can shine. Not understanding the context of a data set can make skewed results difficult to untangle. Someone who understands the subject matter can save researchers a lot of time by helping them analyze visualization results. For example, The Law Librarians were able to look at a word cloud from a set of Supreme Court nomination websites and explain some of the dominant words that the researchers were seeing, and they were able to suggest particular buzzwords that researchers could use in their text analysis queries.
Whiteboard with writing.

Team Turtle’s ARCs to WARCs workflow. Photo by Jaime Mears.

  • Infrastructure. Researchers brought their own laptops but reliable and even enhanced broadband was crucial. The bandwidth needed to move or query data sets as large as a terabyte in size, especially when time is an issue, is formidable.Luckily, preventative actions can be taken to mitigate this stress on the network. The Unleashed organizers set size restrictions on our data sets (no more than 10GB each), and pre-loaded applications and all data sets (including those from the Internet Archive and University of Waterloo) onto virtual machines to minimize transfer times and surprises. If that isn’t an option, ask the researchers to download local copies of the data sets they wish to use in advance of the event so time isn’t wasted moving them around. “Infrastructure” also includes tables and chairs, whiteboards and presentation support.
  • Researchers. The datathon participants came from as far as Jakarta, from mixed backgrounds and interests, although the majority are involved in academia with specializations in media studies, history, computer science and political science. Some work for libraries and archives. Although they had varying technical abilities, most of the participants had experience with data-research methodologies and were familiar with the tools. To attract this group of people, organizers used a simple application process for participants and were able to provide some funding for travel and meals, and coordinated the workshop in conjunction with the Saving the Web symposium hosted by Dame Wendy Hall.

This list is scalable and can be tweaked to fit diverse budgets and spaces. Collaboration is essential. Even if you have staff members who are technical experts, even if you have all the money, partnering with other library units and external experts diversifies who might attend, the available data sets they bring and in general raises the potential for creativity and revelation.

Charles Ellwood Jones (AWOL: The Ancient World Online)

Open Access Journal: Gorffennol: The Swansea University History and Classics Online Journal and Blog

Gorffennol: The Swansea University History and Classics Online Journal and Blog
Gorffennol is the Welsh for Past. It is the online student journal of the History and Classics Department at Swansea University. It will produce two journal issues a year as well as regular blog posts. It is run by an editorial team consisting of 10 students and two members of staff from the Department.

The online journal will be published biannually and will showcase outstanding student assignments from all subject areas in our Department (hence ‘Past’ as this includes everything from ancient Egypt, Greece, and Rome through the Medieval period to the early modern and modern periods).
There will also be regular blog posts by students and staff on module-specific research. There will be links to it from module Blackboard sites, so our Departmental students can look at what excellent work in particular modules looks like.

We are grateful for the funding this project has received from the Swansea Academy of Learning and Teaching (SALT). It will work as a pilot project not only to display  excellent student work, but also to help our students increase their career skills by providing them with editorial experience. We hope to open up the journal to all Arts and Humanities students once the pilot stage of this project is over.
The editorial team are being guided by Dr Evelien Bracke on a weekly basis and have also received a talk by Prof Thomas Jansen (TSD) who coordinates the Student Journal at Trinity Saint David.
Issue 1: January 2015
Issue 2: April 2015
Issue 3: January 2016
The third issue of Gorffennol can now be accessed by clicking on this link: Gorffennol issue 3.

Articles can also be accessed individually:
Year One
Oliver Garbett, ‘Is Horace Ode 1.37 pro-Augustan, anti-Augustan, both, or neither?’, written for Augustan Rome (CLH112)
Access: Oliver Garbett
Stephanie Brown, ‘What did Medieval people think caused the Black Death, and how did they respond accordingly?’, written for Medieval Europe: an introduction (HIH117)
Access: Stephanie Brown
Eugenia Gower, ‘Write your own Heracles myth’, written for Of Gods and Heroes – Greek Mythology (CLC101)
Access: Eugenia Gower

Year Two
Laura Bailey, ‘How important was farming (socially, economically, politically, culturally) for a Greek polis?’, written for Greek City States (CLH264)
Access: Laura Bailey
Bronwen Swain, ‘What was the league of German girls?’, written for The Practice of History (HIH237)
Access: Bronwen Swain
Dale Cutlan, ‘How useful is Domesday Book as a source for understanding the impact of the Norman Conquest on England?’, written for War and Society in the Anglo-Norman World (HIH252)
Access: Dale Cutlan

Year Three
Charlotte Morgan, ‘How important was it for Alexander to be recognized as pharaoh and what did it involve?’, written for Alexandria: Multicultural Metropolis of the Ancient World (CLE334)
Access: Charlotte Morgan
Jed Rual, ‘Masculine iconography of 18th dynasty royal women and its influence on the perception of their role as queen’, written for Ancient Egyptian and Ptolemaic Queens (CLE342)
Access: Jed Rual
Andre Chavez, ‘To what extent did British success in Europe during the Seven Years War depend on the strength of the Fiscal-Military state?’, written for The Great War for Empire II, 1754-1764: Europe (HIH-3306)
Access: Andre Chavez

MA Level
Andrew Morel-du-Boil, ‘A public space of varying suffering: Public lavatory provision in Victorian Bury-St-Edmunds’, written for Directed Reading in History (HI-M80)
Access: Andrew Morel-du-Boil
 

dh+lib: where the digital humanities and librarianship meet

RECOMMENDED: Debates in the Digital Humanities 2016

Editors Matthew K. Gold (The Graduate Center, CUNY)  and Lauren F. Klein (Georgia Institute of Technology) have released the revised edition of Debates in the Digital Humanities

Pairing full-length scholarly essays with shorter pieces drawn from scholarly blogs and conference presentations, as well as commissioned interviews and position statements, Debates in the Digital Humanities 2016 reveals a dynamic view of a field in negotiation with its identity, methods, and reach. Pieces in the book explore how DH can and must change in response to social justice movements and events like #Ferguson; how DH alters and is altered by community college classrooms; and how scholars applying DH approaches to feminist studies, queer studies, and black studies might reframe the commitments of DH analysts.

Like its 2013 predecessor, the new open-access digital edition of the volume allows for readers to annotate, share, and contribute.

The dh+lib audience may be particularly interested in Jonathan Senchyne’s chapter “Between Knowledge and Metaknowledge: Shifting Disciplinary Borders in Digital Humanities and Library and Information Studies.”

RECOMMENDED: Hacking heritage: power and participation in digital cultural collections

Tim Sherratt (University of Canberra) published a post on his Discontents blog entitled “Hacking heritage: power and participation in digital cultural collections,” detailing a project he shared at the DigitalGLAM Symposium on July 15 2016 in Melbourne.  In order to make the Pre-1980 materials in the Australian Government’s ParlInfo Database more readable and usable, Sherratt quickly developed a tool, Historic Hansard, to serve as “an easy-to-read format for historians and other lovers of political speech.”

I initially harvested the files because I thought they’d provide a useful example for use in teaching about text analysis tools and techniques. But then I reflected on that ‘readability’ question and wondered how much work would be involved in creating a version of Hansard that was focused on browsing and reading. The answer was about two days — over the space of a weekend I created Historic Hansard.

His work revealed gaps in the publicly available data, prompting a consideration of implications and the ways in which some institutionally-provided interfaces might hide such silences in the record from researchers.

Needless to say, it’s unlikely that anyone would have noticed these gaps using ParlInfo’s web interface. It’s yet another example of why you always be suspicious of search engines. But it’s also an example of how hacking collections opens them to new forms of analysis and enables us to critique the very notion of access.

Spend sometime reading the strategic plans of cultural heritage organisations and you’ll see that ‘access’ figures prominently — access is ‘provided’, ‘given’, and ‘opened’. Online access is a ‘deliverable’ to be measured in hits and sessions.

The problem with this is it casts the public as consumers of access, rather than creators. Hacking heritage collections is one way demonstrating that access is not a one way flow of information — it’s a struggle and it must always be. We should always be uncomfortable with the categories used to structure our past. We should always want more. If we run out of questions and criticisms then something’s gone badly wrong.

He closes with a call for researchers, cultural institutions, citizens, and hackers to engage with open data and share their work in ways that enable discoveries and “to build critiques as well as websites, conversations as well as code.”

Sherratt has also posted his slides from the talk and shared the ParlInfo XML files he harvested via GitHub.

RESOURCE: DLF Code of Conduct

The Digital Library Foundation (DLF) has released a revised code of conduct in advance of the 2016 DLF Forum in Milwaukee. The code applies to the Forum as well as other DLF in-person events. Revisions to the code of conduct were undertaken with the goal of making the Digital Library Federation “a welcoming organization and the focal point for a digital library culture that is anti-oppression, recognizes intersectionalities, and works compassionately across difference.”

Together, DLF members advance research, learning, social justice, and the public good through the creative design and wise application of digital library technologies. We know that the best problem-solving and critical thinking happens when people with a wide array of experiences and perspectives come together to work in comfort and safety as peers. We therefore expect participants in the DLF community to help create thoughtful and respectful environments where that interaction can take place.

The revised Code of Conduct, developed by DLF with feedback from the 2016 Forum Inclusivity Committee and the DLF Advisory Committee‘s community advisors, cites charters and codes from Scholars’ Lab, the Digital Humanities Summer Institute, Geek Feminism, and others as sources of inspiration.

CFP: International Digital Humanities Symposium (Växjö, Sweden)

From the call:

Recent developments in Information and Communication Technologies (ICT) and interactive applications are creating new social tools and conditions for people to connect and interact; therefore changing the ways we communicate, socialize and collaborate. These new forms of digital enhanced communication and collaboration have been rapidly adopted and integrated into people’s everyday lives. Understanding the nature and consequences of these new interactions and social transformations is crucial if we want to design and shape a better future where digital technologies become an integral component of our life. One major challenge we have identified is the exploration of the two-way interactions between society and ICT with a focus on the Humanities. This particular orientation has the potential to become a key success factor for the values and competitiveness of many Nordic countries having in mind recent EU and Swedish political discussions in the field of Digital Humanities.

This International Digital Humanities Symposium will take place in Växjö, Sweden, 7-8 November. The symposium invites and challenges Nordic and European researchers and practitioners in related disciplines to Digital Humanities (DH) to present, discuss and demonstrate different possibilities, current efforts and upcoming trends in this emergent field.

The deadline for proposals is Friday, 16 September 2016.

JOB: Collections Data Archivist, UCLA Special Collections

From the announcement:

Reporting to the Head, Digital Initiatives for Special Collections/Co-head of Collection Management, the Collections Data Archivist (CDA) will oversee a project to enhance archives collection data management practices, workflows, and policies in LSC. The CDA will work in a highly collaborative manner with curatorial, professional, and technical staff in LSC to evaluate, integrate, and update current systems and tools for managing and accessing archives collection data. The CDA will also oversee LSC’s transition from using the Archivists’ Toolkit for archives collection management to using ArchivesSpace.

Specific duties and responsibilities include:

  • Develops a comprehensive, unit-wide workflow that addresses each stage of archives collection management.
  • In consultation with LSC staff, defines and clarifies the roles and responsibilities of LSC staff in the management lifecycle.
  • Collaborates with Co-heads of Collection Management to establish written policies and procedures for archives collection data management.
  • In consultation and collaboration with the Accessioning Archivist, establishes written policies and procedures for physical collections management.
  • In consultation and collaboration with the Digital Services Specialist, integrates data into centralized platform(s).
  • Oversees the work of a student assistant to review and standardize legacy data.
  • In consultation and collaboration with the Digital Services Specialist and DIIT staff, creates and implements a plan to migrate data to ArchivesSpace.
  • Develops training manuals and workshops for LSC staff on ArchivesSpace and new procedures.

Robert Consoli (Squinches)

Mycenaean Hypotheses, Reasonable and Unreasonable, II




Les philosophes qui ont examiné les fondements de la société ont tous
senti la nécessité de remonter jusqu'à l'état de nature, mais aucun d'eux 
n'y est arrivé. ... tous, parlant sans cesse de besoin, d'avidité, d'oppression, 
de désirs, et d'orgueil, ont transporté à l'état de nature des idées qu'ils 
avaient prises dans la société. Ils parlaient de l'homme sauvage, et ils 
peignaient l'homme civil."
Rousseau [1754] 19.

He pities the plumage but forgets the dying bird.
The Rights of Man, part I
Tom Paine, 1791

In my last post I sketched the substance of Dr. S. Voutsaki's very useful paper from 2007 in which she gave the following summing up of her careful research into grave findings in the Argolid.   It reads as follows:

"..the main organizational principle in the MH period was kin rather than status; as authority was embedded in kin relations, it did not require ostentatious gestures, impressive houses or rich graves for its legitimation.”[1]

In this post I will try to explain what it is about this summary which in my view is, uh, less than perfectly adequate.

Entrance to a tholos tomb.  Ano Engliano.

First of all, Dr. Voutsaki invites us to believe that kin and status are binary principles; that they exist in opposition and are zero-sum; which is to say that when one gains the other must lose.

This is completely false.  There is no culture in the present or in the historical record, stratified, ranked, unstratified, or tribal, in which status is not a primary concern[2] and in most traditional societies kin structures are the source of that status and  are often deliberately manipulated in order to enhance it.[3]  It is precisely kinship that has been the richest source of status regard in almost all the societies that have ever existed.  This is so important that, when high ranking lineage lines are interrupted through lack of children, birth of children of the wrong gender, deaths in war, or other problems, various subterfuges such as adoptions or simple ‘genealogical adjustments’ are often used to repair the gaps.[4]

We are also to suppose that the primary or only possible definition of statusis 'ostentatious gestures, impressive houses or rich graves' and that these things alone can legitimatestatus. 

This is disastrously wrong.[5]   Status in a traditional society is based on a number of factors and material acquisition is only one of them, and very often the least important.    

Status in traditional societies does not just depend on kinship.  Status ordinarily depends on the following factors in roughly this order:  being well-born (however defined), being first born, being male, possession of personal skill in some art or craft (both artifact crafts as well as priesthoods), skill in planning or in executing warfare, age (seniority), and generosity.  In many traditional societies (whether stratified like the Mycenaeans or not) acquisition ordinarily comes dead last as an indicator of status and even then it often accompanies generosity.[6]

It is impossible to maintain that status concerns in the MH were either nonexistent or less than status concerns in the LH.  So why does Dr. Voutsaki do exactly this?

Because any explanation for the emergence of political institutions in the LH must explain how status regard in the MH was transformed into specific new types of status regard in the LH.

And she cannot provide such an explanation. 

That’s because no one can do this and for obvious reasons: whatever constituted status regard in the MH is now lost to investigators.   Therefore she only takes the concept of status seriously when specific materials start showing up in hoards in the archaeological record. This is fatal because now she has no explanation for why these ‘strategies of acquisition’ resulting in the deposition of these hoards developed in the first place.

This, too, is why she encourages us to ignore the existence of 'ostentatious gestures' in the MH (by denying that they could have existed).   But what about those ‘ostentatious gestures’?

No gestures such as large ceremonies?  Not on the occasions of marriages?  Births?  Deaths?  Adoptions?  No grand feasts?    No ostentatious gestures on those occasions?  No competitive giving?  No sacrifices or ritual division of sacrificial meats?  No large assemblies for dancing, singing, poetic recitals?  No athletic contests accompanied by religious rites?  No secret rites?  No magic?  No witchcraft?  No cursing? 

What did people do in the MH? 

Or are we simply to regard these proto-Mycenaeans as nothing but abstract agricultural producers with a shallow kinship-based leadership layer?

Instead of a believable explanation of the MH-LH transition (or at least acknowledging that one is required whether or not it can be immediately supplied) Dr. Voutsaki has over-emphasized the existence of expensive material goods and tried to show that these alone are the route to status; that only those materials can legitimate status.

Let’s see.  Monopolization of scarce goods, monopolization of the ‘means of social reproduction’; [7] what kind of explanation is this?

What we’re being treated to here is a little Materialist fairy tale.  In this fairy tale society begins among simple static tribal structures in which the concept of kin has made everyone secure and given everyone a legitimate role.  There is no need for ‘ostentatious’ gestures because there is no concept of status (conceived of, apparently, as a kind of supra-kinship baggage) in such a society.  Societal position is effortless.  Then, for unaccountable reasons (our friend Otto’s ‘the middle part’), covetous and acquisitive people seize the means of production, break the kinship system, hoard all the golden goodies for themselves and, by so doing, cause poverty everywhere except the palatial centers. Moreover, through their ‘strategies of acquisition’ they also seize power and political control. 

Am I the only one to notice that this little tale is just a series of non sequiturs?

But if we are to reject Materialist explanations and ‘strategies of acquisition’ as the impetus to a stratified society then what does lead to this outcome?

Put simply, a society becomes more likely to make a transition to stratified classes and political institutions when one segment[7a] of a lineage becomes dominant over the others.  This can (but not always) lead to the crushing of the traditional distributional role of the kinship system.[8]  This can happen in a bewildering variety of ways and is oftentimes stranger than we imagine.[9]

What can we plausibly infer about the MH-LH transition, that modification in social logic which takes us from a (probably) achievement-based tribal organization [9a] to one that appears to be a stratified social structure and one living under political institutions?

I certainly don’t know and we’ll probably never know.  But that doesn’t mean that we can just whisk the problems out of sight or bury them beneath a stale Materialist template about seizing ‘status’ goods along with the means of their production. 

Here is a list of hypotheses of the type that we would have to form in order to investigate this question:

H1.  In the MH Greek-speakers lived in loosely ranked tribes in which status was based both on kinship and, to a significant degree, on individual achievement.  This achievement would have been based either on religious closeness to the deities or to success in war or both or some other combination of factors.[10]

Ranks reached through achievement status would not have been heritable.  Each new generation would have to create its own achievements in order to establish its legitimacy to wield power.

H2. This is succeeded by a phase in which, under the influence or the direct involvement of Minoans living on the mainland[11], achievement status is ultimately converted into inherited Rank (following Minoan models).  (It's almost impossible that these proto-Mycenaeans did this on their own.)

After generations of intermarriage between prominent kinship segments and Minoans the old most prominent Greek kinship segments are transmuted into a dominant new segment; one which now has strong interests and claims both on the mainland and on Crete.    (This might position us to discuss what happened on Crete in the middle of the fifteenth century.)   Conceivably, this hypothesized ‘mixed’ class was exogamous and, perhaps, the other kinship segments endogamous.[12]  If true then such marriage patterns would accelerate the stratification process.

H3. This would lead to the society we see in Mycenae and in Pylos in LH III.  In this society rank is inherited; this new society is fully stratified (If not then it would make rubbish of every learned paper in which the ruler of Pylos is referred to as a ‘King’).  Its institutions have a strong Minoan component.  The people in this society now derive their authority, their occupations, and – to greater or lesser extent – their status from political institutions which, as Dr. Voutsaki rightly intuits about the Argolid, are centered in Mycenae.  I think it’s best to regard the luxury objects so prominent in graves in the LH as what modern anthropologists call ‘materialization’.[13]  I would suggest that it’s not the objects that are ‘coveted’ as Dr. Voutsaki seems to think; they are merely signifiers of high status achieved by other means.  And of these other means we know, and probably can know, nothing.

H4. An accelerator in this transition process would have been the undertaking of massive building projects in several of the Mycenaean statelets.  The process is clearest in Orchomenos where a very large amount of land was gradually reclaimed from Lake Copais.  Such projects require more than a ranked-society to carry out and the resulting new land would have been under the direct control of the paramount in Orchomenos; an open invitation to him to escape from the traditional kinship constraints (but not necessarily replacing kinship itself).  One of the reasons that the heads of stratified societies undertake such projects is to accelerate population growth.  Population growth translates into larger armies, political power, and larger ambitions.[14]  This is, perhaps, a marker for the unfortunate events which occurred between LH IIIB and LH IIIC early.

These are hypotheses only; potential lines of investigation.  These are examples of what I mean when I use the word ‘reasonable’; I mean ethnographically reasonable.  I know quite well that most of these particular hypotheses can be neither supported nor falsified by objective evidence; certainly not by any evidence which archaeology is likely to produce.  But from the ethnographic standpoint they make a lot better starting point than the Materialist [15] straight-jacket of Dr. Voutsaki.

This post is a plea for greater ethnographic sophistication in Mycenology and for Mycenologists to see the Mycenaean people as people like other people – (not just hoards of materials)  - with all the complications and sophisticated analysis that that requires.  Archaeology is a valuable tool but if it is used only to support materialist explanations then I don’t think that anyone will be happy with the results. 

Notes

[1]Voutsaki [2007] 92.  Emphasis in the original.  See Voutsaki [1997] 44 for similar ideas and wording: “ … the main organizing principle during this period [e.g., the MH, RHC] was kinship rather than wealth or social status; that authority, being inscribed and embedded in kin relations, did not require legitimation by means of elaborate practices and material distinctions.'

[2]Voutsaki shows examples of this.  In Voutsaki [1997] 37 she describes the Trobrianders’ Kula ring and the status it conveys to those who belong to it.  She calls this increased regard ‘prestige’ but ‘prestige’ is just the concomitant of Status.  Trobriand is a traditional kinship-based society.  At the same place she makes much of status among the ‘Northwest Coast Indians’ relative to the potlatch feasting behavior.   And see Chagnon [2013] 338 ‘There are enormous differences in status among tribal communities.’  He means among the individuals who make up those communities.

[3]In Goldman [1970] throughout.

[4]Adoption in Polynesia, Goldman [1970] 432 ff.   In Pukapuka “Absolute adoptions known as kokoti, ‘to cut’, were negotiated to repair a ‘break’ in a lineage.”  Goldman is citing Ernest and Pearl Beaglehole, ‘Ethnology of Pukapuka.  Honolulu: Bernice P. Bishop Museum, Bulletin 150. 1938.  I do not have access to the Beagleholes’ work.

[5]The ‘Louis Vuitton Theory of Social Transformation’.  This principal probably has much more validity in our own society than it did in ancient Mycenaean societies.  Chagnon describes this mode of reasoning in an anthropology of a certain type: “I concluded that this myth about differential access to resources was so pervasive and unchallenged in anthropological theory because anthropologists come from highly materialistic, industrialized, state societies and tend to project what is ‘natural’ or ‘self-evident’ in this kind of world back into prehistory.  In our world, power, status, and authority usually rest on material wealth.  It follows that fighting over resources is more ‘natural’ and therefore comprehensible to anthropologists than fighting over women.”  Chagnon [2013] 328.

[6]In Goldman [1970].  ‘Principles of Status’, Chapter 1, pp. 4 ff.  Mana defined at 10, Tohunga and Toa on 13, Seniority on 14, Sanctity of Male Line on 15.

[7]Voutsaki [2007] 102, “The  evidence  suggests  that  Mycenae  exerted  control  over  both  the  production  and consumption of prestige items, primarily the most coveted ones such as gold and ivory, and thereby controlled the means for social reproduction.”  The important word here is ‘coveted’ which is a term from the realm of ethics and that converts her theory of social change into an ethical one.  I cannot see how Dr. Voutsaki can know these assertions to be true.

[7a] And by 'segment' I mean either a sub-lineage or a clan conceived of as linear or dual-descent, as cognates or agnates, however the total of the population conceives itself to be divided.

[8] Goldman [1970]

[9]See Harrison [1990], Chapter 6, ‘Treading Elder Brothers Underfoot’, 114 ff. as well as the gloss on this in Flannery and Marcus [2012] 188-191.

[9a] Goldman calls this an 'Open' society.  Goldman [1970] 20.

[10]  Parenthetically I should say that such a kinship scheme would exhibit more instability than Dr. Voutsaki seems to think.  The idea of ‘closeness to the deities’, for example, is subject to proof tests.  The unlucky loser might very well lose his place and status in the event of failure.   So also with military leaders.  Flannery and Marcus [2012] 356, “Unfortunately for Ghuti Mirza, his term of chief had been plagued by drought, and his subjects had ceased to believe that he could control the mountain spirits.”  He is then deposed by his brother, Silim Khan, who “astonished everyone with a dramatic display of weather magic.  He is reputed to have caused a violent snow storm in mid-summer. ‘The snow accumulated on the ground,’ Hunzakut aver, ‘up to the length of an arrow.’  This miracle is said to have convinced many Hunzakut of the legitimacy of Silim’s claim to the throne.  People are said to have rallied around Silim in great numbers, while Mirza was deposed and executed.” in Sidky [1996] 71.   There’s an ‘ostentatious gesture’ for you.

[11] Wright [1992] 70

[12]For the example of Maori in which endogamous and exogamous marriage practices were thought to accelerate the separation between kinship segments see Goldman [1970] 50 ‘..Firth has recorded that ordinary persons married within the hapu, while persons of rank married outside, in order to advance their status interests.  Since the male line carried highest status, the higher ranks in a hapu tended to form themselves around patrilineal descent lines whose maternal links were, however, with other hapu.’  The hapuis a lineage segment.

[13]DeMarrais, et al. [1996].

[14]The importance of increased population in Avatip, Flannery and Marcus [2012] 188-9. And see Sidky for the example of Hunza where increased irrigation and increased irrigated land caused a population increase.  This in turn was used by canny Mirs to convert Hunza from three miserable villages into a conquering power that forced the Chinese in Turkistan to pay tribute in order for their caravans to pass unmolested. Sidky [1996] 69-70.

[15] “When I was a graduate student, my more advanced graduate classes on primitive social organization informed me that differences in status in all human societies were basically determined by ‘differential access to scarce, strategic material resources.’  We were taught that this condition did not obtain in tribal societies because there was no wealth as such, and thus there were no status differences other than sex and age.  …  This was a fundamental message of Marxist social science that dominated most departments of anthropology in the 1960s, especially those departments that were considered to be ‘scientific.’” Chagnon [2013] 53.   Clastres can be devastatingly funny on exactly this topic.  Ostensibly he is attacking Marxism but he's actually attacking the lack of ethnographic sophistication on the part of Marxist anthropologists and why they cannot remedy it"In the logic of the Marxist discourse,  primitive society quite simply cannot exist, it does not have the right to autonomous existence, its being is only determined according to that which will come much later, its necessary future.  For the Marxists, primitive societies are only, they proclaim eruditely, pre-capitalist societies." in Clastres [2010b] 234-5.  Also "..if there are laws of history, they must be as legitimate at the start of history (primitive society) as in the continuation of its course." ibid. 234.



Bibliography

Chagnon [2013]: Chagnon, Napoleon.  Noble SavagesSimon & Schuster.  New York, USA.  2013.  978-0-684-85510-3.

Clastres [2010a]: Clastres, Pierre.  The Archaeology of Violence. Translated by Jeanine Herman.  Semiotext(e). 2010.  978-1584350934.  (Originally published in France by Éditions du Seuil in 1980)

Clastres [2010b]: Clastres, Pierre.  “Marxists and their Anthropology”  In Clastres [2010a] 221-236.

DeMarrais, et al. [1996]: DeMarrais, Elizabeth, Luis Jaime Castillo, Timothy Earle. "Ideology, Materialization, and Power Strategies", Current Anthropology. Vol. 37, No. 1 (Feb., 1996), pp. 15-31. Online here.

Flannery and Marcus [2012]: Flannery, Kent and Joyce Marcus, The Creation of Inequality: How our prehistoric ancestors set the Stage for Monarchy, Slavery, and Empire. Harvard University Press. 2012.  978-0674416772.

Goldman [1970]:  Goldman, Irving.  Ancient Polynesian Society. University of Chicago Press, Chicago 60637  1970.  0226301141.

Harrison [1990]: Harrison, Simon J.   Stealing People's Names: History and Politics in a Sepik River Cosmology.  Cambridge Studies in Social and Cultural Anthropology, 71.   Cambridge University Press.  1990.  ISBN 0-521 38504 0.

Kirch [2012]: Kirch, Patrick V.  A Shark Going Inland is my Chief,  University of California Press.  Berkeley, CA, 2012.

Leach [2004]: Leach, Edmund. Political Systems of Highland Burma;  A Study of Kachin Social Structure. London School of Economics Monographs on Social Anthropology.  Berg Publishers. Oxford, UK.  2004. 1845200551.  Originally published in 1957.

Pullen [2007]: Pullen, Daniel J. (Ed.)  Political Economies of the Aegean Bronze Age; Papers from the Langford Conference, Florida State University, Tallahassee, 22-24 February 2007.  Oxbow Books, Oxford, UK.  978-1-84217-392-3.

Rehak [1992]: Rehak, Paul.  The Role of the Ruler in the Prehistoric Aegean; Proceedings of a Panel Discussion presented at the Annual Meeting of the
Archaeological Institute of America.  New Orleans, Louisiana.  28 December 1992.  With Additions.

Rousseau [1754]: Rousseau, Jean-Jacques.  Discours sur l’origine et les fondements de l’inégalité parmi les hommes.   Édition électronique réalisée par Jean-Marie Tremblay.  2002.  Online here.

Sidky [1996]: Sidky, H.  Irrigation and State Formation in Hunza; The Anthropology of a Hydraulic Kingdom.  University Press of America, Inc.  Lanham, New York, London.  1996.  978-0761802044.

Voutsaki [1995]: Voutsaki, Sofia.  "Social and political processes in the Mycenaean Argolid: the evidence from the mortuary practices." In Laffineur, R. and Niemeier, W.-D. (eds.) POLITEIA: Society and State in the Aegean Bronze Age. Aegaeum 12, Liège, 55-65. 1994.   Online here.

Voutsaki [1997]: Voutsaki, Sofia.   "The Creation of Value and Prestige in the Aegean Late Bronze Age."  Journal of European Archaeology,  V.2, 1997.   Online here.

Voutsaki [2007]: Voutsaki, Sofia.  "From the Kinship Economy to the Palatial Economy: The Argolid in the Second Millennium BC", in Pullen [2007] 86-111.  Online here.

Wright [1992]: Wright, James G.  "From Chief to King in Mycenaean Greece" in Rehak [1992].  63-80


Charles Ellwood Jones (AWOL: The Ancient World Online)

In Memory of Elaine Fantham 1933–2016

In Memory of Elaine Fantham 1933–2016
This website is dedicated to the memory of Elaine Fantham, renowned and much missed professor of Latin at Princeton and the University of Toronto, known to colleagues around the world as a brilliant and path-breaking scholar, to students as a wise and devoted mentor, to NPR audiences as a witty and inspiring guide to the classical world.
 
We invite all who have benefited from her friendship and her learning to share their memories and photos of her in the comments...
Here are links to remembrances of her produced by Princeton University, its Classics Department, and that of the University of Toronto. Elaine’s personal website, which includes her CV, can be reached here. Her appearances on NPR’s Weekend Edition are also available via this link.

Bill Caraher (The New Archaeology of the Mediterranean World)

The Digital Press is Mobilizing the Past

Over the last six months, The Digital Press at the University of North Dakota has been collaborating with a remarkable group of authors, editors, and reviewers to produce an edited volume from an NEH funded conference called Mobilizing the Past for a Digital Future: The Potential of Digital Archaeology held last February in Boston. It was a good conference with good conversations among the participants. After a round of peer review and ample time for revision, the book will be more than just good and will stand as a significant marker in the discussion of digital tool in the discipline. I’m super proud and excited to be part of the project as both a contributor, collaborator, and publisher. The plan is for the book, edited by Jody Michael Gordon (Wentworth Institute of Technology), Erin Walcek Averett (Creighton University), and Derek B. Counts (Wisconsin-Milwaukee), to appear this fall and so far we’re on schedule.

One of the most rewarding parts of the publication process is the design of the interior. For this book, I have been working with Dan Coslett, a graduate student in architecture at the University of Washington. He designed the original poster for the conference and I think it’s just great:

NEH WebsiteBanner rev2jpg

He’s going to design the book cover for us, and help me with interior design. Over the last couple days we went through no fewer than 9 iterations. We had a few challenges. First, after a little discussion, I insisted that we set the book in a serif font, but our “house font” for the press has been the rather stodgy (and 17th c.) Janson. This clearly was not an ideal font for a book that is looking toward our “digital future.” At the same time, I didn’t feel comfortable going with even the classiest sans serif font worrying that it would make what is a serious academic book seem ephemeral. Instead, I looked for a contemporary looking serif-ed font and settled on Tisa. Since I have a few projects on the horizon that might require a more technical, highly legible, and contemporary font, I think having Tisa share our house standard with Janson is a good thing. Finally, I continued a design cue that I used in the Bakken Goes Boom! (buy here or download here!) 

My rather hasty first draft of the first page of the introduction looked like this:

00 MTP Introduction Trial 01 pdf page 1 of 33

We thought it was probably a bit too crowded so we started to find ways to give it more space, by reducing the size of the font for the chapter title.

00 MTP Introduction Trial 02 pdf page 1 of 29

I have a tendency to go with very dense text blocks (probably similar to how I write and think!), and to counteract this we decided to expand the leading a bit in an early revision. Dan also suggested that his trowel-and-tablet graphic was maybe a bit too big for the page. Finally, we went decided to bold the chapter title instead of going with all caps especially since we’re going to use centered, all caps for the top headings in the chapters.  

00 MTP Introduction Trial 04 pdf page 1 of 32

 Of course, we couldn’t leave well enough alone and continued to play with the design, particularly the font size of the chapter title and the location of the authors’ names.

00 MTP Introduction Trial 05 pdf page 1 of 32

I tended to want a more prominent chapter title than Dan did:

00 MTP Introduction Trial 06 pdf page 1 of 32

And we both couldn’t resist the lure of all caps!

00 MTP Introduction Trial 07 pdf page 1 of 32

Smaller title font allowed us to keep authors’ names and the title next to the trowel-and-tablet icon.

00 MTP Introduction Trial 08 pdf page 1 of 32

In the end we decided that was simply not that high a priority and likely to change as titles and numbers of authors varied across contributions.

Here’s our final decision (but even it will be lightly tweaked because I forgot to include the chapter number!):

00 MTP Introduction Trial 09 pdf page 1 of 32

More on this project as it gains momentum over the next few weeks. My hope is to have basic layout of the book done by early next week, a table of contents, and have a draft of the cover to show off then too!

So stay tuned!


Archeomatica: Tecnologie per i Beni Culturali

Palazzo Madama a Torino apre a PokémonGo

Anche i musei si aprono alla nuova applicazione che sta coinvolgendo milioni di persone in tutto il mondo. Da un po' di giorni anche In Italia tanti spazi pubblici sono invasi virtualmente da alcuni animaletti colorati visualizzabili qua e là grazie all'applicazione PokémonGo.

Juan Garcés (Digitised Manuscripts Blog)

Updated List of Digitised Manuscript Hyperlinks

Saints and monsters and centaurs, oh my! Continuing our tradition of releasing roughly every 3 months an updated list of hyperlinks of ancient, medieval and early modern manuscripts digitised by the British Library, we are pleased to present our most up-to-date list here: Download List of Digitised Manuscripts with Hyperlinks,...

NEH Office of Digital Humanities Update

Announcing New NEH-IMLS Partnership: Libraries & Museums Advance the Digital Humanities

By Brett Bobley

As part of the Office of Digital Humanities' new grant program, Digital Humanities Advancement Grants, we are pleased to announce a new partnership with the Institute of Museum and Library Services.

July 20, 2016

Charles Ellwood Jones (AWOL: The Ancient World Online)

Open Access Journal: Routes de l'Orient: Revue d'Archéologie de l'Orient Ancien

Routes de l'Orient: Revue d'Archéologie de l'Orient Ancien
ISSN: 2272-8120
http://4.bp.blogspot.com/-94s9VkIHdAA/UzWB0eZbunI/AAAAAAAAAbo/0mEUglb1nWU/s1238/Couv.jpg
Routes de l'Orient est une association étudiante à but non lucratif ayant pour objectif principal de promouvoir la recherche en archéologie orientale grâce à la participation active d'étudiants et au soutien d'enseignants et de chercheurs. Elle regroupe des étudiants provenant de différentes universités telles que Paris 1 Panthéon-Sorbonne, Paris 4 Sorbonne, l'Ecole Pratique des Hautes Etudes (EPHE) et tend à s'ouvrir à d'autres universités françaises et étrangères.
N° 2 - "Actualité des recherches archéologiques"



N° 1 - "Actualités de la recherche archéologique" 


Cliquez sur l'image pour ouvrir le document



Open Access Journal: Commentaria Classica: Studi di filologia greca e latina

Commentaria Classica: Studi di filologia greca e latina
ISSN: 2283-5652
http://w.commentariaclassica.altervista.org/Commentaria_Classica/Home_files/shapeimage_2.png

Ecco il primo numero di Commentaria Classica. Studi di filologia greca e latina. Il campo di indagine della serie è rappresentato dai testi greci e latini dall’età arcaica fino all’umanesimo. L’approccio è prevalentemente filologico e critico-testuale e, naturalmente, può essere dato ampio spazio anche alla storia degli studi classici.
Commentaria Classica si avvale di un qualificato comitato scientifico internazionale e mette in atto un’attenta selezione del materiale sottoposto per la pubblicazione mediante il sistema di peer review anonimo.
La serie è diffusa esclusivamente online (in formato .pdf).
Le lingue accettate per la pubblicazione sono l'italiano, l'inglese, il francese, il tedesco, lo spagnolo e il latino.
Trovate le norme editoriali da seguire in un’apposita sezione nella pagina principale.
Chi fosse interessato alla pubblicazione può inviare il proprio contributo in formato .doc o .docx all'indirizzo commentaria.classica@gmail.com
Volumi pubblicati
II - 2015

Volume in preparazione
III - 2016

Juan Garcés (Digitised Manuscripts Blog)

Off With His Head

As a manuscript curator, one often gets asked, what can we achieve by studying old handwriting? Surely every important document in the British Library's collections has already been published. Surely every manuscript has yielded every clue as to why it was written, and who may have consulted it. Sometimes when...

Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

An early account of the Roman villa at the Villa Negroni in Rome

Pre-scientific accounts of archaeology can be very vague.  The 1777 discovery of a magnificent Roman house, near what is now Termini station in Rome, is naturally not properly documented.  It does not help that the area of ground – a farm within the walls, essentially – goes under various names, such as the Villa Peretti, Villa Montalto, Villa Negroni, and Villa Massimo, after its successive owners.

The earliest account known to me, of the discovery of the house, was written by the Benedictine abbot, Angelo Uggeri (1754-1837).  The title is given by Lanciani as Iconografia degli Edifizi di Roma antica, vol. 3, plates 14-17, page 55; and in volume II, plate 24, which is supposedly a floor-plan.[1]  But I can find no such work listed. Probably the reference is in error somehow.

However I was able to find a notice by Camillo Massimo, in his account of his own property, Notizie istoriche della Villa Massimo alle Terme diocleziane, Rome, 1836.[2]  The account is on p.213-216, and includes a plan.  The author indicates his dependence on Uggeri.

I thought that it might be interesting to translate this account into English, as best I could, with the aid of Google Translate.  Those who wish to do so can of course consult the Italian online at the links below.

At points Count Massimo’s sentences just run on, so I have split some of his sentences accordingly.  Here it is.

    *    *    *    *    *

But the most fruitful of all the excavations made at the villa was that undertaken in the month of June of the year 1777 by the cavalier Azara in an area of land located between the Viminal and Equiline hills. There were found the remains of a house, which at that time prior before the discoveries at Pompeii was the first example of the manner in which the ancients made their own homes, and therefore was a famous discovery in antiquarian history. The following inscription stamped on the bricks that composed it, indicated that it was built in the times of Antoninus Pius:

SERVIANO III COS
SALEXPSLCIVVEN

i.e. in the third consulate of Servianus, which corresponds to 134 AD.

This little palace was made up of two floors, with permanent stairs, but the upper floor having been destroyed perhaps on the occasion of some earlier excavation, there remained only a few remains with incrustations of marble. The ground floor, emptied of earth, shows the arrangement that the ancients gave to their homes.  This was unknown up to that time, aside from the casino of Pius IV in the Pontifical Vatican garden, which is said to have been built by Pirro Ligorio based on an ancient model.  The following plan is copied from the drawing made on-site by the architect Camillo Buti Romano, and was made to raise awareness of these precious remains, which are now once again covered by the earth.

The walls of the rooms were all painted as dscribed in the list below, and they show representations of various deities, distributed one to each room, and executed with the greatest of care, perfection of colour, and elegance of design, both in the figures, and in the accompanying decoration (1).

(1) The Diary of Rome, which informed the public at the time of the discovery, tells us (Number 262 p. 16), that the first-found room, when, with the proper licenses, the house was opened towards the end of June 1771, was the one with the paintings of Venus, shown in the plan by the letter C; that after this, there was discovered in the room B, dedicated to Adonis, the paintings of which are described in Num. 272. p. 13; and that in the month of August (Diary num. 274. p, 9) were discovered the paintings of the third room, marked D, representing Hercules in a frame with cup in hand, supported by a Faun, and in the other a Baccante, playing two flutes at the same time, with another Bacchante upright nearby listening.

Floor plan of the ancient house discovered in 1777 at the Villa Negroni

Floor plan of the ancient house discovered in 1777 at the Villa Negroni

A. Vestibule painted without figures.

B. Room dedicated to Adonis, in which there were two pictures, one representing Adonis, going hunting, and the other the same Adonis, wounded, and dying. This room has a door leading into the next room, and a window on the opposite wall corresponding to the road, and placed at the top, just as is usual for the windows of the studios of painters. The side walls are of “opera a cortina” (?).

C. Room dedicated to Venus, likewise with two painted walls.

D. Room dedicated to Bacchus, in which were three pictures, one representing the drunken Hercules supported by a young Faun; the second Bacchus and Ariadne; and the third a Faun, which plays two tibias, with Silenus who listens.

E. Juno Room, with two diamonds, and a marina with Greek ships, and other compositions.

F.  Room decorated with niches, and arabesques.

G. Last room, where there was only one painting representing Pallas.

H. Staircase to the demolished upper floor.

I. Peristyle, or courtyard with piscina in the middle.

Total length of the house, 125 palms, width 70 palms.  [A palm was about 8″, so 84′ x 47′ or 25m x 14m, or thereabouts. – RP]

So interesting was the discovery that the famous painter, Raffaelle Mengs, who was in Rome, and was a great friend of Azara, rushed to see these beautifully preserved paintings.  He found that they were of such good style, that, so that they should not perish, from the effects of fresh air, he began to draw them attentively with the help of the cavalier Maron, his brother, despite the damp in the deep place where they were. The paintings, and their colour copies were found so attractive, that those interested in this excavation, also by the advice of Mengs, were determined to make them known with all possible diligence.(1)

To this end the talented engraver Campanelli was chosen, and, so that the lovers of the arts might have a perfect idea of those precious monuments, the praiseworthy Camillo Buti, who was born in one of the houses of the same Villa Montalto, where his family had long lived, was set to colour these prints with elegant miniatures, representing with inexpressible accuracy and perfection the same colours as the ancient original paintings, thus forming a fine collection of thirteen prints, which was the number of painted walls remaining in place.

The description given to the public, with a plan similar to this, is perhaps the most learned of this kind ever published, and was dictated by the same Antonio Raffaele Mengs, who knew exactly how to explain all the virtues of these paintings, which were much preferable to those of the Baths of Titus (2).

(2) An exact description of four of these rooms, the colors of all their decorations, and even the minutest details, is given in volume 3 of Icnografia degli Edifizj di Roma antica, p. 53.f., the work of Abb. Uggeri, who in Tables XIV, XV, XVI and XVII, also records the contours of the paintings of those four rooms; and in Volume II. Tab. XXIV. figure 1, reproduced in a small plan the whole house with its size, and with the index of paintings remaining in it. The description of this is also given in the manifesto printed on that occasion in a flying piece of paper which has become very rare, and in the second edition of the Roma antica of Ridolfino Venuti with additions by Stephen Piale, Par. I. cap. V, p. 125.

While in this way these paintings were conveyed to the mercy of eternity by beautiful engravings, and miniatures, the originals, (as we read in the Diary of Rome num. 266. For 19 July 1777. p.8.) were, with the proper licenses, sawed from their respective walls by an English merchant, who sold them to my Lord the Earl of Bristol, and they were brought to England, where they may be found in his Antiquarian Museum.

Meanwhile when at Rome the news of the discovery was known, as usual there began disputes among antiquaries to decide to whom that elegant little palace would have belonged.  The beautiful distribution of its plan, the finiteness of the paintings, and rarity of the marbles with which were encrusted the door jambs, bases, and floors, indicated that it belonged to an uncommon owner. From these clues together with the brick stamp imprinted on the bricks as we mentioned above, and the style of the paintings and ornaments, which became barbarous not long after that time, it was generally agreed that that the building was of the time of Antoninus, and that, secondly, most widely stated in the Antologia Romana vol. 6 (1780, pag.252), was a holiday home of Lucilla wife of Lucius Verus, and daughter of Marcus Aurelius, and of Faustina Minor. What made him believe this was one of the paintings of those rooms, where near an altar there is seen a woman wearing a stole, whose right hand shakes a tree, from which falls almost upside down a cupid, bearing an apple.  This painting, which was the first to be discovered in the excavation, according to the Diary of Rome of 5 July 1777, p. 16, is a most perfect copy of the reverse of a coin of the same Lucilla, which suggests that the palace belonged to the same princess, and that she had painted in it that emblem of her own.

There was also found among the ruins of the house a small statuette of Venus in rare sculpture of marble, but missing a leg (1); and the same excavation was continued, as stated in the Diario di Roma num. 304. p. 3. On the 29th November 1777, there were found three beautiful sculptured Fauns.

    *    *    *    *    *

This all gives us something.  The entrance to the villa is to the left, and you pass through the rooms into a atrium with a central water tank or piscina.  Sadly the plan does not indicate north.

Let’s see what else we can find out!

  1. [1] R. Lanciani, The ruins and excavations of ancient Rome, p.147, note. Online here.
  2. [2] Various copies at Google books.  A high resolution copy is online and downloadable at Arachne here.

Juan Garcés (Digitised Manuscripts Blog)

Alexander Neckam’s Collections of Prometheus

You shouldn’t have pressed that button. As the time machine sputters to life, your lab disappears, to be replaced with a forest and stone buildings. A group of monks take you in, and you regain a sense of calmness as you listen to them sing the daily office in the...

Charles Ellwood Jones (AWOL: The Ancient World Online)

Open Access Journal: Athens Journal of History

Athens Journal of History 
e-ISSN: 2407-9677 
his
The Athens Journal of History (AJH) is a quarterly double blind peer reviewed journal and considers papers from all areas of history. Many of the papers published in this journal have been presented at the various conferences sponsored by the History Research Unit of the Athens Institute for Education and Research (ATINER).

Bill Caraher (The New Archaeology of the Mediterranean World)

Reading

I’ve been thinking a good bit about reading lately. Some of it comes from a stalled summer reading list. Some of it comes from the growing awareness that I don’t really read enough. I’ve been shamed lately when I hear about the prodigious amounts of reading my colleagues do and recognize more and more that I’m struggling to keep up with recent developments in my field.

I’ve also become aware that my reading has largely become practical. I read manuscripts that I’m peer reviewing. I read books that I’ve been asked to review in publications. When I do read, I tend to read rather surgically, ferreting out specific types of information, arguments, and even just mining for citations (which I then read for more citations. It’s really just citations all the way down.)

Finally, I’ve started to embrace serious reading on digital devices on a more regular basis. This summer I made my first effort to read an academic book on my Kindle and I’ve slowly converted most of my reading list to pdfs. 

My thinking about reading has led me three places.

1. Find Some Focus. One of the challenges I’ve faced lately is my research has become too disparate stretching from the Northern Plains to Cyprus and Greece. I need to find a way to refine my focus to prioritize at least some of my reading. For example, I’ve been carrying around a copy of Thansis Vionis 2013 book on the Medieval Cyclades. Clearly, this is a priority for my work in the Argolid and even on Cyprus, but for whatever reason, the book in its unread state has come to represent my failures as a serious scholar. 

I need to establish a list of works and prioritize my reading not because I want to my focused, professional reading to take over my reading universe, but to help to put some limits on my surgical reading and free up time to read more broadly.  

2. Read to Read. I tell my graduate students that most of the habits that I’ve formed over my academic career developed either during my preparation for my comprehensive exams or during the most intense stages of dissertation writing. In fact, I suspect that comprehensive exams are less valuable for what you read and remember, and more valuable for the habits that you form. 

When I was reading for comps some 20 years ago (!!) I read a couple books a week for around 18 months. I took some notes on them, read some reviews, and generally tried to think broadly about works that fell far outside my area of research specialization. In other words, I developed the habit of reading to read, not toward some specific and practical research goal (putting aside the goal of passing my comprehensive exams). I need to get back to doing that, and so I’m going to try to embrace the act of reading as an end to itself. Maybe I’ll even try one of those “book-a-week” deals. 

3. Read Differently. Despite my broad interest in digital media and digital history and archaeology, I usually read my books on paper. As I tell my friends, it’s like driving my Ford F150. I just love the feeling of driving a truck. I love the smell of wet dog, dirt, spilled coffee. I rolling through town at 5-10 mph below the speed limit with my yellow dog (and soon, my puppy). I know that in many ways trucks are obsolete dinosaurs, but I just love driving mine. I recognize that paper books are similar to big trucks: impractical, emotional, and moving invariably toward a kind of practical obsolescence. Who wants to carry three months worth of books overseas? Who has the patience to wait for a new book to arrive when an instant download is a click or two away? Who has the space to store papers books and the time to organize them? I know some people do have the passion for paper, but like my truck, it’s largely irrational and typically a luxury for folks who don’t read for a living.

This isn’t to say that trucks don’t have certain value. Last night a storm brought down several large branches in my yard, and it’ll be nice to just chuck them in the back of my truck and drive to the green waste disposal bins. 

This summer I tried to read an academic book on my Kindle. The reading part was fine, but I found myself myself struggling to navigate backward and forward in the book. The probably wasn’t the intuitive controls on the Kindle or even the bookmarking function which worked well. The issue was that I tend to be a (to paraphrase my undergraduates) a very “visual reader.” I tend to remember the structure of pages: the paragraph breaks, subheadings, and even the location of passages on either odd or even pages. The Kindle removes those kind of visual cues from my memory and when I change the font size or jump around in the book, the pages repaginate making it hard for me to remember just where I read that passages that I didn’t highlight when I read it, but want to highlight later.

In pdf versions of books, the page structure remains largely intact even if visual cues like the binding are absent. As a result, I tend to remember the location of key passages and, invariably, content of the book better. 


Archeomatica: Tecnologie per i Beni Culturali

V Scuola di Spettroscopia infrarossa applicata alla diagnostica dei Beni Culturali

Il Centro per la Conservazione ed il Restauro dei Beni Culturali "La Venaria Reale” annunciata la V edizione della Scuola di Spettroscopia infrarossa applicata alla diagnostica dei Beni Culturali. Durante le lezioni, previste nelle aule del  CCR dal 7 al 11 Novembre, verranno presentati per la prima volta molti risultati recenti legati alle nuove tecnologie e sviluppi di strumentazione Raman handheld di nuova generazione.

Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

I brought this back from Italy, my boy! – paintings from the Villa Negroni

Last weekend I visited Ickworth House in Suffolk, the family home of the Marquess of Bristol.  An earlier Lord Bristol travelled to Italy on the Grand Tour, and brought back with him a taste for Italian architecture: and the curious structure of the house reflects this.  There is a huge central rotunda, with the entrance, family rooms, servants quarters and bedrooms, with two much smaller wings.  One of the latter was never finished, indeed.

Ickworth House. A view of the rotunda from the garden.

Ickworth House. A view of the rotunda from the garden.

The property is now in the hands of the National Trust, and I can recommend the baked potatoes in their café.

But while touring the house, I discovered the “Pompeian room”. This has nothing to do with Pompeii, but rather with a curious discovery in Rome in 1777, in the area where Termini, the train station, now stands.

In 1777 that area was part of a large farm within the walls, running from the Baths of Diocletian for two miles, to the city walls.  The farm was then known as the Villa Negroni, as it was the property of Cardinal Negroni.  Originally the farm was known as the Villa Peretti, or Villa Montalto, after the family names of Pope Sixtus V, who had bought the land while still a cardinal.  Later still it was to be known as the Villa Massimo, after yet another owner, before the railway station was built in the 1860s.  There were two houses on the land, the main one facing the Baths of Diocletian.

In 1777 Lord Bristol was in Rome.  In the summer of that year, there was a remarkable discovery at the Villa Negroni.  The remains of an ancient house were uncovered, dating to the Antonine period, with rich painted wall decorations.  His Lordship went to view them, and was so impressed that he purchased the frescoes from the walls, ordering his agent to ship them to his house in Ireland.

The artwork excited great admiration.  A then famous artist was commissioned to make copies of the paintings, to ensure preservation, and a volume of 8 plates was produced.  Here are a couple of the plates:

negroni1

negroni2

Lord Bristol was unfortunate.  The frescoes never arrived.  In fact they were not seen again.  But at Ickworth, the Earl ordered that a room should be created in which they could be displayed; and, in the absence of the originals, that copies should be painted from the printed versions.

It was these, then, that made up the Pompeian room at Ickworth; and a set of the prints, at about A2 size, was visible in a corner.

I had never heard of these paintings, and I doubt that I am alone.  So in the next couple of posts, let’s see what we can discover about this discovery, and the pictures that so impressed contempories.

DigPal Blog

DigiPal/Models of Authority at DH2016

As noted over on the Models of Authority site, the project team there was represented at Digital Humanities 2016 in Krakow. We presented a poster showing how the DigiPal framework has now been extended to include texts alongside images, and the texts themselves can be marked up according to project-specific schemas in order to allow searching by type of text as well as palaeographic feature. The full abstract is now published online, and the accompanying poster is embedded below. A high-resolution version in PDF is also available by clicking on the image (3.77 MB).

  • P.A. Stokes, S. Brookes, G. Noël, J.R. Davies, T. Webber, D. Broun, A. Taylor, and J. Tucker, J. 'The Models of Authority Project: Extending the DigiPal Framework for Script and Decoration', in Digital Humanities 2016: Conference Abstracts, ed. by Maciej Eder and Jan Rybicki (Krakow, 2016), pp. 896-99. Available at http://dh2016.adho.org/abstracts/387

Image of the Models of Authority poster from DH2016

Models of Authority Poster, DH2016. Click to download full version (3.77 MB)

Archeomatica: Tecnologie per i Beni Culturali

Cultura Crea: incentivi per le imprese creative nel settore culturale nel mezzogiorno

In arrivo 107 milioni di euro del Programma Operativo Nazionale “Cultura e Sviluppo”- FESR 2014-2020 per lo sviluppo del sistema imprenditoriale della filiera culturale nelle regioni Basilicata, Campania, Calabria, Sicilia e Puglia. Sono stati stanziati dal Ministero dei beni e delle attività culturali e del turismo (MiBACT) per creare un nuovo sistema di incentivi destinato a sostenere la creazione e lo sviluppo di micro, piccole e medie imprese nel settore dell’industria culturale-turistica e in grado di migliorare la fruizione dell’offerta culturale esistente. Le agevolazioni hanno anche l’obiettivo di supportare le imprese no profit che vogliono valorizzare le risorse culturali dei territori interessati.

Zaino in spalla per il rilievo mobile mapping della Fortezza da Basso a Firenze

Il Laboratorio GeCo di Geomatica per la conservazione dei Beni Culturali dell'Università degli studi di Firenze in collaborazione con Leica Geosystems ha recentemente sperimentato il nuovo Pegasus Backpack, una nuova strumentazione che combina fotocamere e lidar profiler in grado di acquisire dati 3D da uno zaino appositamente progettato.

Workshop su diagnostica e restauro di beni archivistici e librari

Il restauro dei materiali archivistici e librari è un’attività  complessa, nella quale confluiscono apporti di mondi scientifici diversi (quello degli storici, degli archivisti, dei chimici, dei fisici e dei biologi), saldandosi con la più elevata tradizione artigianale italiana ed europea.

Mia Ridge (Open Objects)

Crowdsourcing workshop at DH2016 – session overview

A quick signal boost for the collaborative notes taken at the DH2016 Expert Workshop: Beyond The Basics: What Next For Crowdsourcing? (held in Kraków, Poland, on 12 July as part of the Digital Humanities 2016 conference, abstract below). We’d emphasised the need to document the unconference-style sessions (see FAQ) so that future projects could benefit … Continue reading Crowdsourcing workshop at DH2016 – session overview

The post Crowdsourcing workshop at DH2016 – session overview appeared first on Open Objects.

July 19, 2016

Charles Ellwood Jones (AWOL: The Ancient World Online)

DICTIONARY OF ART HISTORIANS: A Biographical Dictionary of Historic Scholars, Museum Professionals and Academic Historians of Art

DICTIONARY OF ART HISTORIANS: A Biographical Dictionary of Historic Scholars, Museum Professionals and Academic Historians of Art
A biographical and methodological database intended as a beginning point to learning the background of major art historians of western art history. A free, copyrighted, scholarly database for the use of researchers, students and the public.
The Dictionary of Art Historians is a free, privately funded biographical dictionary of historians of western art written and maintained by scholars for the benefit of the public. It became associated with the Department of Art, Art History, and Visual Studies of Duke University in January of 2010. Initially conceived as a methodologic tool for English-language readers, it seeks to compile the documented facts of an historian's life in order to serve as a background for understanding a specific text and the historiography of art. As stipulated under the Creative Commons license agreement, of which it is a part, users are required to site this source (see how-to-site link) in all publications.
The DAH was begun in the fall of 1986 as a notecard project by indexing the historians cited in Eugene Kleinbauer's Research Guide to the History of Western Art (1982) and his Modern Perspectives in Western Art History (1971), Heinrich Dilly's Kunstgeschichte als Institution (1979) and some of Kultermann's Geschichte der Kunstgeschichte (1966). In 1996 it was input electronic and in 2002 migrated to the internet.
HOME      HOW TO CITE DAH    COMPLETE LIST     EXPLANATION      RECENT ENTRIES     BIBLIOGRAPHY          | |         DEUTSCH    FRANCAIS    NEDERLANDS    ITALIANO


New in JSTOR: Yediot Bahaqirat Eretz-Israel Weatiqoteha /ידיעות בחקירת ארץ-ישראל ועתיקותיה

Yediot Bahaqirat Eretz-Israel Weatiqoteha /ידיעות בחקירת ארץ-ישראל ועתיקותיה
ISSN: 2312-0061
EISSN: 2410-7123

All Issues


1950s
1940s
1930s
And see also:
AWOL's full list of journals in JSTOR with substantial representation of the Ancient World

New in JSTOR: Qedem: Monographs of the Institute of Archaeology

Qedem: Monographs of the Institute of Archaeology = monografiyot shel ha-malchon lĕʻarkheologya ha-'Universiṭa ha-ʻivrit birushalayim
ISSN: 0333-5844 
Coverage: 1975-2013 (Vol. 1 - Vol. 55)

These monographs are the main venue of publication for reports on the Institute of Archaeology of the Hebrew University’s excavations, their finds, and other research topics. Qedem is published in English and appears in two formats: Qedem and Qedem Reports. 

All Issues

2010s
2000s
1990s
1980s
1970s
And see also:
AWOL's full list of journals in JSTOR with substantial representation of the Ancient World

Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

WARNING!!! Fragments of Euripides “Palamedes” NOT rediscovered in Jerusalem

On June 21 2016 I wrote a post here to the effect that fragments of the lost play, “Palamedes”, by Euripides had been found in a manuscript in Jerusalem by Dr Felix Albrecht.  This I based on other internet reports, in German, which themselves seem to misunderstand the sitiuation.[1]

But after communicating with Dr Albrecht, I find that this is NOT the case.  No fragments of unknown plays have been found.  But the actual find is itself very exciting, and the technology used is a clear advance.

What are the facts? The manuscript is Cod. Hierosolymitanus Sancti Sepulcri 36, which was written in the 13th century, and contains 556 leaves, on which may be found the text of the Minor Prophets from the Greek Old Testament (Septuagint).  But the manuscript was written on reused parchment.  With the aid of a new multi-spectral imaging system, called “Revelator” (for which see below), some extraordinary results can be achieved!

Some of the parchment came from a now destroyed 11th century copy of The Phoenician Women by Euripides, made as a school copy with explanatory marginalia.  That makes it very old, compared to most of our Greek manuscripts, and it is the most important witness to the text.   This itself is an important discovery.  And there are others, as we shall see.

The manuscript has been known for a century, but it was rediscovered by Felix Albrecht, as part of his work to produce a critical edition of the Greek Old Testament.  He has set up “Project Palamedes” to support this work, and he has also published an article on the subject, which he has kindly sent to me.[2]

The manuscript is located in the library of the Greek Orthodox Patriarchate of Jerusalem, and comes from the library of the Church of the Holy Sepulchre.

I found an image of a page of the palimpsest here, from the Euripides section.  It shows clearly the marvellous results of this new multi-spectral imaging technique:

palamedes-1_wp

Among the under-texts are also portions of Cyril of Alexandria’s Commentary on Luke, from a manuscript of the 8th century.  This is lost in the Greek original, and preserved only in Syriac.  (I remember scanning the English translation of this, years ago, and placing it online!)  This too is a valuable find.

Other finds are pages from: a 7th century copy of Basil of Caesarea’s Asceticon Magna, CPG 2875; 8th century copy of Maximus the Confessor, Capita de Caritate, CPG 7693; an unknown text in 8th century uncial; a 10th c. copy of Gregory Nazianzen’s Carmina Moralia, CPG 3035; a 10th century copy of Isaiah; and some pages in 7th century hand, of unknown content, reused  in the 11th century to contain a school copy of Euripides.

One quaternion of the manuscript managed to end up in St Petersburg.

Nor is this all.  The project is also working on another palimpsest, Codex Parisinus Graecus 1330 from the library of Colbert.  The upper text is a colourful nomocanon, but it reused pages from a majuscule manuscript ca. 500 AD containing a previously unknown ancient commentary on the works of Aristotle.  There are also ancient diagrams of the highest quality.  Any discovery gives us something, although this one will perhaps be more for the students of philosophy.

I also found a bibliography for Felix Albrecht, here, which suggested other finds of unknown material that ought to be better known.

UPDATE:  Dr Albrecht wrote to me as follows:

Concerning Euripides, we did not find any unknown Euripides texts, unfortunately.

However, the Jerusalem palimpsest contains four new discovered pages of known Euripides text with scholia, which seem to be very interesting, because:

  1. The Jerusalem palimpsest is the most important witness to Euripides.
  2. Many folios of the Jerusalem palimpsest, and so the new discovered pages, are re-written twice, i.e. bis rescriptus.

From a scientific point of view, the decipherment of these double palimpsested (bis rescriptus) folios, using a special multispectral imaging system is the most important result of our work.

The multispectral imaging system is called “Revelator” (cf. http://www.mwa-nova.com/revelator.html). The system, which is definitely amazing, allows the user to make images in the full spectrum of light from UV to IR;  it collects the data in a way that the results can be processed in 3D, cf. the following example.

A prototype of that system, invented by Jonathan Albrecht, has been used for the PALAMEDES project.

PALAMEDES volume 1 will be published in 2017: “Greek Orthodox Patriarchate of Jerusalem, Holy Sepulchre Ms 36. A Semi-diplomatic Edition of the Euripides Fragments by Felix Albrecht and Agamemnon Tselikas” (PALAMEDES 1), Athens 2017.

Since few will click through, I do want to say that the “example” included this quite amazing image of a page moving and showing both texts. It is very clear that a considerable technical advance has taken place!

rot-left_700x_loop

  1. [1] E.g. this one here (translation mine): ‘The “Codex Hierosolymitanus Sancti Sepulcri 36” is located in the library of the Greek Orthodox Patriarchate of Jerusalem. The manuscript comprises 556 pages and dates from the 13th century; among other things, it contains new, completely unknown texts of Euripides, one of the three great Greek tragedians of antiquity. Of the original over ninety tragedies of Euripides one fifth only has surviveded. The Jerusalem manuscript is one of the main text witnesses of the tradition of Euripides. Although it has long been known, hitherto it has not been explored in its entirety. An analysis of the palimsest revealed that it contains more texts of Euripides by far than previously thought. In addition, the newly discovered passages provide not only material already known, but also unknown material from the pen of Euripides. Moreover, this manuscript contains six patristic or biblical texts, mainly in majuscule, and in the course of processing, it will be decided whether an edition seems sensible.’
  2. [2] Felix Albrecht, “Ein Novum Supplementum Euripideum? Die unbekannten Seiten des Euripides-Palimpsestes Codex Hierosolymitanus Sancti Sepulcri 36”, Aevum 86 (2012), p. 3-27. 

Dickinson College Commentaries

Dickinson Latin Workshop 2016 Bede

Thanks for a great week to everyone who participated in this year’s Dickinson Summer Latin Workshop, reading selections the Venerable Bede for five days: Janet Brooks, Daniel Cummings, Michael DiMarco, Michael Erdman, Andrew Fenton, Jen Larson, Eli Goings, Jason Lalonde, Jacqueline Lopata, Kristen Masters, Hugh McElroy, Oliver Morris, Lauren Murphy, Julia Rhodes, Jonathan Rockey, Kitty Zackey, Ashley Roman, Clara Hardy, Rob Hardy, Peter Rook, and Louise Wesson.

Thanks also to everyone who helped make it possible: Terri Blumenthal (Classics Academic Department Coordinator), the staff at Conferences and Special Events, especially Dottie Warner, Jodie Bowermaster, and Sarah Ireland, and also the Dickinson drivers and dining hall staff, and to the Roberts family, whose generous gift to the Dickinson classics department helps us keep the costs low for participants.

Special thanks to Andrew Fenton for bringing his delicious home cured meats to share, and to Hugh McElroy and Jen Larson for bringing home made mead. What would reading Bede be with a good cup of mead?

Most of all, thanks to Rob Hardy for providing us with superb notes that will be the basis of his DCC commentary on selections from the Historia Ecclesiastica.

This was a delightful, rewarding, and rejuvenating week with a wonderful group of Latinists and friends. I hope to see everyone next year!

–Chris Francese

Archeomatica: Tecnologie per i Beni Culturali

Pietà Rondanini: la piattaforma antisismica premiata con il “Global Best Project”

L’innovativa piattaforma antisismica e antivibrante che sorregge e tutela la Pietà Rondanini nel suo nuovo allestimento nella sala dell’Ospedale Spagnolo del Castello Sforzesco vince il prestigioso Global Best Project nella categoria Specialty Construction assegnato dalla rivista Engineering News-Record.

Source: Journalism Code, Context & Community

Guri VR: Virtual Reality for the Rest of Us

By Dan Zajdband

Guri VR: Virtual Reality for the Rest of Us

(Topher McCulloch, licensed under CC)

When Gustavo Cerati, a legendary Argentinian musician and songwriter, was asked to share his best advice for new musicians, he refused—saying instead that “experiences are not transferable.” You may agree or may not with his statement, but if you’ve ever worn an Oculus Rift or a similar virtual reality (VR) headset, you’ll know we are getting closer and closer to transferable experiences.

Journalism seems to be a good use case for VR technology. The New York Times has delivered a wide range of stories through their nytvr app, available on Android and iOS; the Washington Post took us to Mars; and The Guardian showed us what it’s like to survive solitary confinement.

On the other hand, companies like Google, Facebook, and Microsoft are pushing the limits of the technology in partnership with game makers, artists and developers. We are still experimenting and trying to understand what the future of Virtual Reality will look like in the near future.

With the rise of VR, Mozilla, Google, and other companies expressed interest in developing open standards for making the web the home of the VR ecosystem, which led to WebVR, a JavaScript API that provides access to Virtual Reality devices. The specification draft is available, and we can even use what is called a polyfill to use WebVR today, before this API is added in your mobile browser.

With WebVR, a web developer can access a wide range of device-specific information that’s needed to create VR apps: position, orientation, velocity, acceleration, field of view, and eye distance.

I got really interested in the development of WebVR technology and the impact it could have in journalism. This led me to explore a variety of tools for making VR easier to develop, both for journalists and for developers without graphics programming knowledge.

Here are three tools for making VR in the open web, in descending order of required technical skills. But even if the first are harder to use for non-technical people, I’ll bet that if you can write just couple of lines of JavaScript, you’ll be able to create amazing VR scenes.

A Note on Asset Generation and Usage

The first question I get in every workshop is, "how can I take my own pictures and videos?" And it makes a lot of sense. If we want to create our own experiences, we need to be able to capture our own world.

Taking 360° Panoramas

The preferred format for this kind of 360° panoramas is called “equirectangular,” and the good news is, you can take them with your phone.

The Android Camera has a mode called Photo Sphere and an active community around the functionality. The Cardboard Camera is also a good option, enabling the ability to record audio along with your panoramas.

On iOS, you can install the Google Street View app to take this kind of picture—there are more apps that will help you, but this one works really well.

If you don’t want your own pictures, you can always download one from the Flickr Equirectangular group. You can search between more than 15000 equirectangular pictures (remember to add attributions to the photographers and be careful with the licenses).

Taking 360° Videos

This gets tricky because usually you will need a special camera. We are in a stage where consumer cameras are not perfect yet, but I can point to a couple of cameras that do the job:

  • The Ricoh Theta S and the Samsung Gear 360 are tiny 360° cameras that can make your life easier, and both come with their own apps and software for preview, editing and uploading videos. The battery duration and heat are real issues, but you can get pretty decent videos.
  • For higher quality, VR makers sometimes use a rig with GoPros. There are a lot of different options and more cameras and techniques are coming out.

Recording Audio for VR

Recording audio is easier, and you can use your regular audio recorder to do this. If you want to record in 360°, there are special mics. You can take a look at different options here.

Uploading Your Assets

Equirectangular pictures and videos are regular media files. Your panorama file can be opened and edited with your favorite photography app, meaning you can upload your assets to the same services you use to upload your images and videos.

The only catch is that if you host your pictures in a domain that is not the same as your VR app (your website), the service needs to support CORS. If you don’t know what CORS is, don’t worry, you can upload your images to services like Imgur and also your videos to a public Dropbox folder, and it will work. For uploading to AWS S3, make sure you have a CORS policy set up.

WebVR Starter Kit

I was happy to discover that, thanks to the work of amazing developers, you can actually create simple VR scenes that work on the Oculus or Google Cardboard with just one or two lines of JavaScript or HTML.

The first project I want to highlight is the WebVR Starter Kit by Brian Chirls. This library allows developers (or people with very little JavaScript experience) to create VR scenes in seconds. The examples really show the power of the library.

The main idea is that by adding this library to your website (as a .js script) your website is automagically converted to a 3D VR scene. The only thing you need to do is just add objects (like boxes, spheres, audios, panoramas, videos) with attributes like position, color, and material. You can even add simple animation.

You can, for example, play God and indicate that you want a wooden floor and a sky with two lines:

VR.floor().setMaterial(‘wood’);

VR.sky(); 

Then you can add a green cylinder, position it, and tell everybody it’s yours:

VR.box({ color: 'green' }).moveTo(0, 2, 0)

VR.text('This is my cylinder').moveTo(0, 1, 0) 

Create a nice atmosphere for this little bunny video in just three lines of code.

A-Frame with HTML

After some time playing around with the amazing WebVR starter kit, I found out that a Mozilla team working on WebVR experiments, known as MozVR, was creating a framework that can be used by people who can’t write a single line of JavaScript.

It’s called A-Frame. The idea is to create VR scenes using HTML tags and properties, making the VR development process pretty much like building a website. The A-Frame project website is full of examples, the documentation is really good, and the community is active and growing. Inside every example on their website, there is a link to the source code.

This time, instead of using JavaScript to create our objects we will use HTML-like tags. Most of the WebVR starter kit objects are available, including handy resources like 3D model loaders and arrow controls for moving inside the scene.

Let’s say we want to get a videosphere surrounding the scene and a box inside. We would express it via the a-box and a-videosphere tags:

<a-scene>

 <a-assets> <video id="antarctica" autoplay loop="true" src="antarctica.mp4"> </a-assets>

 <a-videosphere src="#antarctica"></a-videosphere> <a-box color="red" depth="2" height="4" width="0.5"></a-box>

</a-scene> 

As you can see, it’s really easy to create—for example—a spherical video just with some lines of HTML.

Also, if you’re still not sure about the power of this tool, check out Mars: an interactive journey—a Washington Post VR experience made with A-Frame.

Guri VR, for Journalists and Non-Developers

After playing around with all these amazing tools available to create VR experiences, two questions popped into my mind:

  • Is there a way to add context to a story told with VR?

  • Is the A-Frame learning curve reachable for storytellers and journalists, or should I create something simpler for them?

Based on those questions, and after some experimentation, I created Guri VR. Guri is a set of tools focused on the creation of VR experiences based on intuitive descriptions, and it’s targeted at journalists and other non-developers. The main tool is the Guri editor. This online tool allows the users to express in plain English what they want to experience and generate a shareable and embeddable link with the VR scene.

The output is a HTML file using autogenerated A-Frame markup. This is helpful if you want to create a prototype and then pass the code to a developer to change it.

You can play around with the editor at GuriVR.com, but let’s see how you can describe a basic scene. For example I can write down this into the editor:

My first scene lasts 5 seconds and has a skyblue background and text saying “This is my first scene”.

The second is 30 seconds and has just a panorama located at https://ucarecdn.com/8e6da182-c794–4692–861d-d43da2fd5507/ along with the audio https://ucarecdn.com/49f6a82b–30fc–4ab9–80b5–85f286d67830/

And this is the result.

Since one of the goals is to remove the friction between the users and the VR generation, the editor includes a file uploader. To upload a file, you just need to drag it to the editor and select where to place it based on the cursor position.

Screenshot

Since my goal was to present a friendly interface for VR-scene generation, I also wanted to interact with existing tools. For example, I started working on an A-Frame Chartbuilder component. You can feed the component with the JSON output from ChartBuilder, and it will draw a 3D representation of the chart you just made. This works on any A-Frame scene, but I also added it to the Guri Editor. There is also a guide to help you getting started with the tool.

Screenshot

VR Tweetbot

In the end, Guri is an API that accepts a JSON file describing what we want and translating it into A-Frame so that it can be easily modified after.

Thinking about even easier ways to create a VR scene, I developed a proof of concept using Twitter. Using GuriVR and the Twitter API, I use @guri_vr as a VR bot. You can tweet an equirectangular picture, and if you mention @guri_vr on that tweet, it will tweet you back with the VR scene link embed into a Twitter Card, so you can even watch the experience without leaving Twitter:

For now, it only works with a single picture, but it can be easily modified to allow multiple panoramas as scenes or intertitles.

Transferable Experiences, Open Web

Guri VR is open source, and it’s under heavy development. You can fork it and help make it great. I’m also looking for feedback from storytellers and other people interested in creating VR without coding skills.

VR opens up powerful new ways of telling meaningful stories, and it’s important to be able to prototype these stories easily. As with any new technology, there is a potentially steep learning curve and a lot of hype around VR. But I think that the right uses can be very beneficial for newsrooms and their readers, and by using open web standards, we are as close as possible to the public. I encourage you to try these tools—and see for yourself.

Archeomatica: Tecnologie per i Beni Culturali

Museo Glass Beacon: indagine sul gradimento della visita in realtà aumentata ai Mercati di Traiano

Lo scorso autunno, per due mesi, i Mercati di Traiano Museo dei Fori Imperiali di Roma, sono stati oggetto del progetto sperimentale "Museo Glass Beacon: il museo del futuro" grazie al quale i visitatori hanno potuto vivere un'esperienza di visita in realtà aumentata mediante alcuni visori messi a disposizione all'ingresso del museo.

Bill Caraher (The New Archaeology of the Mediterranean World)

Lessons from the Bakken Oil Patch

Last month, my colleagues and I wrote a short paper for a Journal of Contemporary Archaeology forum on the archaeologies of forced and undocumented migration. Our paper focused on our work on the North Dakota Man Camp Project.

Here’s the abstract

This article summarizes the recent work of the North Dakota Man Camp Project to understand the largely undocumented migrants arriving in the Bakken Oil Patch for work. It argues that efforts to document short-term labor in the Bakken exposes particular challenges facing the archaeology of the modern world ranging from the ephemerality of short-term settlements to the hyper-abundance of modern objects. The use of photography, video, interviews, and descriptions produced an abundant archive of archaeological ephemeral that in some ways parallels the modern character of temporary workforce housing.  The final section of the article offers some perspectives on how work in the Bakken oil patch can inform policy, our understanding of material culture in the modern world, and the role of the discipline in forming a shared narrative.

 

And here’s the paper:


Archeomatica: Tecnologie per i Beni Culturali

Innovazione e cambiamento al centro della XII edizione di LuBeC

Innovazione e cambiamento: questo il filo conduttore della 12ª edizione di LuBeC, dal titolo “2016, Qualcosa è cambiato: la Cultura è benessere e crescita". L’appuntamento è per il 13 e 14 ottobre 2016 a Lucca, nella splendida location del Real Collegio.

July 18, 2016

Charles Ellwood Jones (AWOL: The Ancient World Online)

Open Access Journal: Digital Archive of Brief notes & Iran Review (DABIR)

Digital Archive of Brief notes & Iran Review (DABIR)
Dabir Journal
The Digital Archive of Brief notes & Iran Review (DABIR) is an open access, peer-reviewed online journal published by the Dr. Samuel M. Jordan Center for Persian Studies and Culture at the University of California, Irvine. DABIR aims to quickly and efficiently publish brief notes and reviews relating to the pre-modern world in contact with Iran and Persianate cultures. The journal accepts submissions on art history, archaeology, history, linguistics, literature, manuscript studies, numismatics, philology and religion, from Jaxartes to the Mediterranean and from the Sumerian period through to and including the Safavid era (3500 BCE-1500 CE). Work dealing with later periods can be considered on request.


Issue 02


I Articles


  1. Victorious: The “Arrogance” of Šāhānšah Xusrō Parvīz
    Keenan Baca-Winters
  2. Whipping the Sea and the Earth: Xerxes at the Hellespont and Yima at the Vara
    Touraj Daryaee
  3. Dancing in Middle & Classical Persian
    Touraj Daryaee & Nina Mazhjoo
  4. The Niyāyišn and the bagas (Brief comments on the so-called Xorde Avesta, 2)
    Götz König
  5.  Jamshīdī Nō-Rūz : Facts v/s Myth
    Dastur Firoze M. Kotwal
  6. An orgy of Oriental dissipation? Some thoughts on the ‘Camel lekythos’
    Lloyd Llewellyn-Jones
  7. The Turkish Iranian emigration as perceived by the Maathir al-Umara (1544-1629)
    Marc Morato
  8. Survey of Šāhnāme sources. 1. The so-called *Paykār and *Sagēsarān
    Mohesn Zakeri

II Reviews


  1. Asatrian, Garnik S. & Viktoria Arakelova. 2014. The religion of the Peacock Angel: the Yezidis and their spirit world.
    Vahé S. Boyajian
  2. Shahbazi, A. Shapur, Tārīḫ-e sāsānīān. Tarjome-ye baḫš-e sāsānīān az ketāb-e tārīḫ-e Ṭabarī va moqāyese-ye ān bā tārīḫ-e Bal’amī [Sasanian History. Translation of the Sasanian Section from the History of Ṭabari and its Commparission with the History of Bal’ami], Tehran, Iran University Press, 1389š/2010.
    Touraj Daryaee
  3. Timuş, Mihaela. 2015. Cosmogonie et eschatologie: articulations conceptuelles du système religieux zoroastrien. (Cahiers de Studia Iranica 54). Paris: Peeters Press.
    Shervin Farridnejad
  4. Briant, Pierre. 2015. Darius in the shadow of Alexander. (Trans.) Jane Marie Todd. Cambridge, Massachusetts: Harvard University Press.
    Lloyd Llewellyn-Jones
  5. Bridges, Emma. 2014. Imagining Xerxes: ancient perspectives on a Persian king. (Bloomsbury Studies in Classical Reception). New York: Bloomsbury Academic.
    Lloyd Llewellyn-Jones

III Obituary


  1. Malek Iradj MOCHIRI (1927–2015)
    Ehsan Shavarebi

Issue 01


I Articles


  1. A re-examination of two terms in the Elamite version of the Behistun inscription
    Saber Amiri Pariyan
  2. Alexander and the Arsacids in the manuscript MU29
    Touraj Daryaee
  3. Take care of the xrafstars! A note on Nēr. 7.5
    Shervin Farridnejad
  4. The kings of Parthia and Persia: Some considerations on the ‘Iranic’ identity in the Parthian Empire
    Leonardo Gregoratti
  5. Brief comments on the so-called Xorde Avesta (1)
    Götz König
  6. Some thoughts on the rock-reliefs of ancient Iran
    Ali Mousavi
  7. A note on the Alkhan coin type 39 and its legend
    Khodadad Rezakhani
  8. Relieving monthly sexual needs: On Pahlavi daštān-māh wizārdan
    Shai Secunda
  9. Preliminary observations on word order correspondence in the Zand
    Arash Zeini

II Reviews


  1. Smith, Kyle. 2014. The Martyrdom and History of Blessed Simeon bar Sabba’e
    Sajad Amiri Bavandpoor
  2. Mayor, Adrienne. 2014. The Amazons. Lives and Legends of Warrior Women Across the Ancient World
    Lloyd Llewellyn-Jones
  3. Llewellyn-Jones, Lloyd & James Robson. 2010. CTESIAS’ History of Persia: Tales of the Orient
    Yazdan Safaee

III Special Issue


  1. Of dirt, diet, and religious others: A theme in Zoroastrian thought
    Bruce Lincoln

ASOR Cultural Heritage Initiatives Bibliographies

ASOR Cultural Heritage Initiatives Bibliographies
ASOR Cultural Heritage Initiatives Logo
BIBLIOGRAPHIES BY TOPIC
In order to understand fully the damage that has occurred to Syrian cultural heritage sites, it is important to obtain a comprehensive understanding of these sites prior to the civil conflict that began in 2011. Academic publications, excavation reports, archaeological surveys, and damage assessments are just some of the many sources that can paint a broad picture of pre-conflict cultural heritage in Syria, which in turn proves instrumental to our documentation efforts and preservation planning. Below you will find a series of bibliographies that contain both published and unpublished works in a variety of languages, including English, Arabic, French, German, and Italian, among others. We encourage you to seek out these sources and to learn more about the cultural heritage that is currently at risk.