Cotsen Digital Archaeology Series
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
1. Introduction
This PDF is a simplified version of the original article published in Internet Archaeology. All links also go to the online version. Please cite this as: Nicholson, C., Fernandez, R. and Irwin, J. 2021 Digital Archaeological Data in the Wild West: the challenge of practising responsible digital data archiving and access in the United States, Internet Archaeology 58. https://doi.org/10.11141/ia.58.22 Digital Archaeological Data in the Wild West: the challenge of practising responsible digital data archiving and access in the United States Christopher Nicholson, Rachel Fernandez and Jessica Irwin Summary Archaeology in the United States is conducted by a number of different sorts of entities under a variety of legal mandates that lack uniform standards for data archiving. The difficulty of accessing data from projects in which one was not directly involved indicates an apparent reluctance to archive raw data and supplemental information with digital repositories to be reused in the future. There is hope that additional legislation, guidelines from professional organisations, and educational efforts will change these practices. 1. Introduction Though we are well into the 21st century, responsible digital archiving of archaeological data in the United States is not common practice. Digital archiving of cultural resource management reports in State Historic Preservation Offices, where they are often available by request though perhaps at a cost, is common; however, digitally archiving the datasets and other supporting materials that went into the creation of those documents is not. Though a vocal minority advocates for responsible digital archiving practices (Kansa and Kansa 2013; 2018; Kansa et al. -
Digital Humanities Pedagogy: Practices, Principles and Politics
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/161 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Digital Humanities Pedagogy: Practices, Principles and Politics Edited by Brett D. Hirsch http://www.openbookpublishers.com © 2012 Brett D. Hirsch et al. (contributors retain copyright of their work). Some rights are reserved. The articles of this book are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported Licence. This license allows for copying any part of the work for personal and non-commercial use, providing author attribution is clearly stated. Details of allowances and restrictions are available at: http://creativecommons.org/licenses/by-nc-nd/3.0/ As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our website at: http://www.openbookpublishers.com/product/161 ISBN Hardback: 978-1-909254-26-8 ISBN Paperback: 978-1-909254-25-1 ISBN Digital (pdf): 978-1-909254-27-5 ISBN Digital ebook (epub): 978-1-909254-28-2 ISBN Digital ebook (mobi): 978-1-909254-29-9 Typesetting by www.bookgenie.in Cover image: © Daniel Rohr, ‘Brain and Microchip’, product designs first exhibited as prototypes in January 2009. Image used with kind permission of the designer. For more information about Daniel and his work, see http://www.danielrohr.com/ All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), and PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified. -
Example Grant Materials
Example Grant Materials Do not redistribute except under terms noted within. Citation: Brown, Travis, Jennifer Guiliano, and Trevor Muñoz. "Active OCR: Tightening the Loop in Human Computing for OCR Correction" National Endowment for the Humanities, Grant Submission, University of Maryland, College Park, MD, 2011. Licensing: This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Collaborating Sites: University of Maryland Maryland Institute for Technology in the Humanities Team members: Maryland Institute for Technology in the Humanities Travis Brown Paul Evans Jennifer Guiliano Trevor Muñoz Kirsten Keister Acknowledgments Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the collaborating institutions or the National Endowment for the Humanities. Active OCR: A Level II Start Up Grant Enhancing the humanities through innovation: Over the past several years, many large archives (such as the National Library of Australia and the National Library of Finland) have attempted to improve the quality of their digitized text collections by inviting website visitors to assist with the correction of transcription errors. In the case of print collections, an optical character recognition (OCR) system is typically used to create an initial transcription of the text from scanned page images. While the accuracy of OCR engines such as Tesseract and ABBYY FineReader is constantly improving, these systems often perform poorly when confronted with historical typefaces and orthographic conventions. Traditional forms of manual correction are expensive even at a small scale. Engaging web volunteers—a process often called crowdsourcing—is one way for archives to correct their texts at a lower cost and on a larger scale, while also developing a user community. -
Methods in Digital Archaeology and Cultural Heritage Katy Meyers Emery
Methods in Digital Archaeology and Cultural Heritage Katy Meyers Emery Increasingly over the last decade, anthropologists have looked to digital tools as a way to improve their interpretations, engage with the public and other professionals, collaborate with other disciplines, develop new technology to improve the discipline and more. Due to the increasing importance of digital, it is important that current students become equipped with the skills and confidence necessary to creatively and thoughtfully apply digital tools to cultural heritage questions. With that in mind, this course is not a lecture- it is an open discussion and development course where students will learn digital tools by using and making them. This course will provide students with an introduction to digital tools in archaeology, from using social media to engage with communities to developing their own online projects to preserve, protect, share and engage with cultural heritage and archaeology. Course Goals: 1. Understand and articulate the benefits and challenges of digital methods within archaeology and cultural heritage management 2. Critically use digital methods to engage with the public and archaeological community online to promote cultural and archaeological heritage and preservation (ex. Blogging, Twitter, Digital Mapping, etc) 3. Leverage digital tools to create a digital project focused on archaeology or cultural heritage Texts: All reading material for this course will be provided online, although students may need to request or find their own reading material related to a historic site for their final project. **This syllabus was designed based on a course that I helped develop and teach over summer 2014, a Mobile Cultural Heritage Informatics class I assisted in during summer 2011, and my years as a Cultural Heritage Informatics Initiative fellow. -
Art: Authenticity, Restoration, Forgery
UCLA Cotsen Institute of Archaeology Press Title Art: Authenticity, Restoration, Forgery Permalink https://escholarship.org/uc/item/5xf6b5zd ISBN 978-1-938770-08-1 Author Scott, David A. Publication Date 2016-12-01 Data Availability The data associated with this publication are within the manuscript. Peer reviewed eScholarship.org Powered by the California Digital Library University of California READ ONLY/NO DOWNLOADS Art: Art: Authenticity, Restoration, ForgeryRestoration, Authenticity, Art: Forgery Authenticity, Restoration, Forgery David A. Scott his book presents a detailed account of authenticity in the visual arts from the Palaeolithic to the postmodern. The restoration of works Tof art can alter the perception of authenticity, and may result in the creation of fakes and forgeries. These interactions set the stage for the subject of this book, which initially examines the conservation perspective, then continues with a detailed discussion of what “authenticity” means, and the philosophical background. Included are several case studies that discuss conceptual, aesthetic, and material authenticity of ancient and modern art in the context of restoration and forgery. • Scott Above: An artwork created by the author as a conceptual appropriation of the original Egyptian faience objects. Do these copies possess the same intangible authenticity as the originals? Photograph by David A. Scott On front cover: Cast of author’s hand with Roman mask. Photograph by David A. Scott MLKRJBKQ> AO@E>BLILDF@> 35 MLKRJBKQ> AO@E>BLILDF@> 35 CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CIoA Press READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery READ ONLY/NO DOWNLOADS READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery David A. -
Matthew James Driscoll and Elena Pierazzo
ONLINE SURVEY In collaboration with Unglue.it we have set up a survey (only ten questions!) to learn more about how open access ebooks are discovered and used. We really value your participation, please take part! CLICK HERE Digital Scholarly Editing Theories and Practices EDITED BY MATTHEW JAMES DRISCOLL AND ELENA PIERAZZO DIGITAL SCHOLARLY EDITING Digital Scholarly Editing Theories and Practices Edited by Matthew James Driscoll and Elena Pierazzo https://www.openbookpublishers.com © 2016 Matthew James Driscoll and Elena Pierazzo. Copyright of each individual chapter is maintained by the authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Matthew James Driscoll and Elena Pierazzo (eds.), Digital Scholarly Editing: Theories and Practices. Cambridge, UK: Open Book Publishers, 2016. http://dx.doi.org/10.11647/ OBP.0095 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/isbn/9781783742387#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active on 26/7/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/isbn/9781783742387#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
DIGITAL ARCHAEOLOGY of HERITAGE BUILDINGS of WEST AFRICA Ghana – 28 May – 1 July
NEW Summer 2017 Field School in DIGITAL ARCHAEOLOGY OF HERITAGE BUILDINGS OF WEST AFRICA Ghana – 28 May – 1 July Focusing on the Elmina Castle (1482, Ghana) the school introduces the principles of structural diagnostics of heritage masonry buildings with the aim to produce a systematic survey (manual, photogrammetric, laser scanning, aerial drone photography) and related digital reconstructions of select areas of the Castle. The school also fosters the understanding of the historical environment, and in particular the pivotal role in the Transatlantic World, of Elmina Castle through study visits to other forts and castles in coastal Ghana. In addition, the school offers a broader view of Ghana’s natural and cultural heritage through guided visits to selected archaeological sites and national parks. There are no pre-requisites. The field school is designed to attract undergraduate and graduate students in the humanities, social sciences, and engineering interested in acquiring skills in a multidisciplinary environment. Faculty: Prof. Renato Perucchio, Co-director – Mechanical Engineering and Director, Archaeology Technology and Historical Structures, University of Rochester – [email protected] ; Prof. Kodzo Gavua, Co-director – Archaeology and Heritage Studies and Dean, School of Arts, College of Humanities, University of Ghana - [email protected] ; Prof. Michael Jarvis, History and Director, Digital Media Studies, University of Rochester - [email protected] ; and Prof. William Gblerkpor, Archaeology and Heritage -
Monumental Computations. Digital Archaeology of Large Urban And
Visualising the Past through the Virtual Image Virtual Reconstitutions as interpretations of knowledge Tiago CRUZ, University of Porto, Portugal Abstract: The image has the power to mean something, to tell, to express, to represent, and to present. Based on a reflection upon the place of the virtual image in the visuali- sation of the past, the present article seeks to answer to the transformations that result from the digital revolution, with implications in our relationship with History and in our experience of the built heritage. With the aim of returning the old Convent of Monchique to the city of Porto (Portugal) and its community, the interpretation of knowledge is ex- plored here by using the virtual image as an instrument for the visualisation of the past, in its visibilities and invisibilities, through interpretative exercises of the past, guided by historical accuracy, authenticity, and scientific transparency. Due to the profound formal and functional changes it has undergone over time—even prior to its foundation, in the 16th century, and up to the present—, the convent presents itself as an ideal example to test the use of scientific methodologies and their validity in an interpretative visualisation of the past. Keywords: Virtual image—digital reconstruction—data authenticity—uncertain data— reconstructions CHNT Reference: Tiago Cruz. 2021. Visualising the Past through the Virtual Image. Börner, Wolf- gang; Kral-Börner, Christina, and Rohland, Hendrik (eds.), Monumental Computations: Digital Ar- chaeology of Large Urban and Underground Infrastructures. Proceedings of the 24th International Conference on Cultural Heritage and New Technologies, held in Vienna, Austria, November 2019. Heidelberg: Propylaeum. -
Thea Sommerschield @ Theasommerschield.It | Academia | Github | Scholar | Orcid
theasommerschield.it | Curriculum Vitae Born 1993, Monza (Italy), Italian-British nationality D * [email protected] * [email protected] Thea Sommerschield @ theasommerschield.it | Academia | GitHub | Scholar | Orcid 1 Education 2021 – 2016 : DPhil in Ancient History, University of Oxford Awarded Dissertation: “Breaking Boundaries: a study of socio-cultural identities in Archaic and Classical western Sicily” Supervisors: Prof. Jonathan Prag; Prof. Josephine Quinn | Examiners: Prof. Nino Luraghi; Dr Matthew Fitzjohn 2016 – 2015 : MSt in Greek History, University of Oxford Distinction 2016 – 2012 : MA in Humanities, School of Advanced Study of Pavia IUSS First Class Honours 2015 – 2012 : BA in Classics, University of Pavia - Ghislieri College 110/110 summa cum laude 2 Academic Positions 2021 – 2023 : Marie Skłodowska-Curie Fellow, Università Ca’ Foscari di Venezia PythiaPlus - Grant agreement ID: 101026185. 2021 – 2022 : CHS Fellow in Hellenic Studies, Harvard University – current position – CHS - Center for Hellenic Studies. 2021 : A. G. Woodhead Fellow, Ohio State University Center for Epigraphical and Palaeographical Studies (declined). 2020 : Visiting Fellow on the Study of Ancient Writing Systems, University of Cambridge CREWS - Contexts of and Relations between Early Writing Systems ERC Project (declined). 2020 : CACHE Post-Doctoral Visiting Research Fellow, Macquarie University CACHE - Centre for Ancient Cultural Heritage and Environment (declined). 2020 : Ralegh Radford Rome Awardee, The British School at Rome The British School at Rome, January – March 2020. 2017 - 2019 : Craven University Fellow, University of Oxford Faculty of Classics – Funding research fieldwork abroad (Rome, Sicily). 3 Research Projects and Collaborations 2021 - 2020 : Project co-lead: Deep Learning for Greek epigraphy University of Oxford, DeepMind, Athens University of Economics and Business collaboration. -
Huggett, J. (2015) a Manifesto for an Introspective Digital Archaeology
Huggett, J. (2015) A manifesto for an introspective digital archaeology. Open Archaeology, 1(1). pp. 86-95. Copyright © 2015 The Authors. This work is made available under the Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported (CC BY-NC-ND 3.0) Version: Published http://eprints.gla.ac.uk/104047/ Deposited on: 17 Mar 2015 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Open Archaeology 2015; 1: 86–95 Original Study Open Access Jeremy Huggett A Manifesto for an Introspective Digital Archaeology Abstract: This paper presents a grand challenge for Digital Archaeology of a different kind: it is not technical in and of itself, it does not seek out technological solutions for archaeological problems, it does not propose new digital tools or digital methodologies as such. Instead, it proposes a broader challenge, one which addresses the very stuff of archaeology: an understanding of how digital technologies influence and alter our relationships with data, from their creation and storage ultimately through to the construction of archaeological knowledge. It argues that currently this area is under-theorised, under-represented, and under-valued, yet it is increasingly fundamental to the way in which we arrive at an understanding of the past. Keywords: digital archaeology, digital data, introspection, digital intervention, digital intermediation DOI 10.1515/opar-2015-0002 Received December 4, 2014; accepted February 2, 2015 1 Ghosts in the machine In 2011, James Bridle coined the term New Aesthetic to describe his curation of a series of images on Tumblr which he saw as pointing “towards new ways of seeing the world, an echo of the society, technology, politics and people that co-produce them .. -
A Manifesto for an Introspective Digital Archaeology
Open Archaeology 2015; 1: 86–95 Original Study Open Access Jeremy Huggett A Manifesto for an Introspective Digital Archaeology Abstract: This paper presents a grand challenge for Digital Archaeology of a different kind: it is not technical in and of itself, it does not seek out technological solutions for archaeological problems, it does not propose new digital tools or digital methodologies as such. Instead, it proposes a broader challenge, one which addresses the very stuff of archaeology: an understanding of how digital technologies influence and alter our relationships with data, from their creation and storage ultimately through to the construction of archaeological knowledge. It argues that currently this area is under-theorised, under-represented, and under-valued, yet it is increasingly fundamental to the way in which we arrive at an understanding of the past. Keywords: digital archaeology, digital data, introspection, digital intervention, digital intermediation DOI 10.1515/opar-2015-0002 Received December 4, 2014; accepted February 2, 2015 1 Ghosts in the machine In 2011, James Bridle coined the term New Aesthetic to describe his curation of a series of images on Tumblr which he saw as pointing “towards new ways of seeing the world, an echo of the society, technology, politics and people that co-produce them ... It is a series of artefacts of the heterogeneous network, which recognises differences, the gaps in our overlapping but distant realities.” [1]. This New Aesthetic was predicated on the discovery and revelation of images which are embedded in digital technologies and without which they could not exist. Bridle described the New Aesthetic as ‘seeing like digital devices’ [2], although Sterling [3] argued that humans had ultimate responsibility for the creation of the digital imagery, describing the results as some kind of ‘wunderkammer’. -
Digital Scholarly Editing Theories and Practices
Digital Scholarly Editing Theories and Practices EDITED BY MATTHEW JAMES DRISCOLL AND ELENA PIERAZZO To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/483 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Digital Scholarly Editing Theories and Practices Edited by Matthew James Driscoll and Elena Pierazzo https://www.openbookpublishers.com © 2016 Matthew James Driscoll and Elena Pierazzo. Copyright of each individual chapter is maintained by the authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Matthew James Driscoll and Elena Pierazzo (eds.), Digital Scholarly Editing: Theories and Practices. Cambridge, UK: Open Book Publishers, 2016. http://dx.doi.org/10.11647/ OBP.0095 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/isbn/9781783742387#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active on 26/7/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/isbn/9781783742387#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.