digital humanities australasia 2014

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March 2014: ” Digital Bread and Circuses: Sensory Prototypes for Different Screens” Digital Humanities Australasia 2014, Perth, Western Australia

Transcript of digital humanities australasia 2014

(Digital) Bread and Circuses

Reframing Roman Spectacle forDifferent Screens

Dr. Anna Foka anna.foka@humlab.umu.seMultiple Screens as MaterialHUMlab, Umeå University, Sweden

Summary1. Historical Accuracy?

2. Critical Making: Implications

3. Sound as a Case Study

4. Preliminary Conclusions/Outcomes

Ippolitto Caffi: The Interior of the ColosseumThe entrance of the Colosseum (circa 1840)

Antiquity in 3DUrban Development

Applications of technology in museology

Narratives of digital Heritage

Historical Accuracy?

Experience?

The amphitheatre as an experience of the

Senses‘Total sensory experience of the ludi’ (Toner 2009: 123) How? Participatory (Giaccardi et. al:2012) Gamification of knowledge (Zichermann: 2011, Foka: 2014)Kinaesthetics, Sound, Touchscreens (Betts: 2011)

Critical Making

1. Literature Review

2. Design and Building

3. Iterative reconfiguration + conversation = reflection begins.

(Ratto: 2011)

’Emergence Sense-making’

Conceptual Design, Artistic Practice and HCI

The pyramid of implications for multisensory

conceptual&critical making

1. Raw Data?2. Intangible3. Spatiality4. Temporality.

1

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3

Hermeneutics VS Ocularcentrism

Witmore (2004 and 2006)

Howes (2005)

Favro (2006)

Drobnick (2006)

Betts (2011 and 2013)

Lindhé (2013)- Digital Ekphrasis

Making the Intangible-Tangible: Sounds of the Ludi

Acoustic Archaeology

Peripatetic Archaeology

Narratives of Sound>>> Modes of listening >>>sound productionChion (1995)

Modes of listening

Turii et all (2007) 15-7Order of modes- Cognitive abstraction from low to high

Samples of Case Studies

Plutarch Cicero 13: Hissing and applausing

Dionysius Halicarnassus, Roman Antiquities, 7.72. 13: Musicians and Procession

Preliminary conclusions in the making

Critique and Expression

Cultural and Historical Significance

Experience

Database of sounds + Level of Cognitive abstractions?

Screens: Sound + Vision =1

Thank you!

graffiti comes from Pompeii (CIL IV 10237)

Pompeii Graffiti (CIL IV 10237)

anna.foka@humlab.umu.seTwitter: @fencingfox