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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. -
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. -
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 -
What Is This? Solving Problems Found in Collection October 17, 2017
What is this? Solving Problems Found in Collection October 17, 2017 Jobi Zink, Registrar Rosenbach Museum & Library [email protected] Resources I could not have presented this webinar without guidance from the following resources: Melinda Simms, Master’s Thesis Found in Collections: A Reference Guide for Reconciling Undocumented Objects in Historical Museums http://www.foundincollections.com/ Buck, edited by Rebecca A.; Gilmore, Jean Allman (2010). MRM5: Museum registration methods (5th ed.). Washington, DC: AAM Press, American Association of Museums. (aka The Registrar’s Bible) https://vimeo.com/139636936 A very short and entertaining PSA-style video, pleading for help with Found in Collections from the Florida History Museum Found in collection (Includes links to individual American states unclaimed property laws. Products Label Holders http://www.gaylord.com/Preservation/Conservation-Supplies/Labeling-%26-Marking/ Polypropylene-Label-Holders-%2812-Pack%29/p/61-388 Poly Vista-Pockets™ Clear Book Pockets http://www.thelibrarystore.com/product/ ad41-0802/s Large Object Tags http://www.gaylord.com/Preservation/Conservation- Supplies/Labeling-%26-Marking/Gaylord-Archival%26%23174%3B- 10-pt-Folder-Stock-Artifact-Tags-%28100-Pack%29/p/ HYB01357 1 Little tags http://www.gaylord.com/Preservation/Artifact-%26-Collectibles-Preservation/ Labeling-%26-Supplies/Gaylord-Archival%26%23174%3B-10-pt-Folder- Stock-Prestrung-Artifact-Tags-with-Rounded-Corners-%28100-Pack%29/p/ HYB02620 Tyvek® tags http://www.gaylord.com/Preservation/Artifact-%26-Collectibles- -
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. -
Special Collections Collection Management Policy Updated September 2013 Cost, Staff Time, Storage Space, Or Policy Implications
BRYN MAWR COLLEGE SPECIAL COLLECTIONS COLLECTIONS MANAGEMENT POLICY APPROVED BY THE COLLECTIONS COMMITTEE, OCTOBER 4, 2013 Adopted by the Collections Management Committee: October 4, 2013 Approved by the Board of Trustees: September 20, 2014 i TABLE OF CONTENTS I. Introduction..........................................3 C. Requirements and Obligations for A. Statement of Purpose…………..........3 Borrowers……................................17 B. Process of Establishing Policy……….3 D. Interdepartmental Loans……………17 C. Statement of Authority ..................3 VII. Documentation……..............................18 D. Collections Committee Charge ......3 A. Collection Object Records………....18 E. Legal Considerations and Codes of B. Backup System for Records………..19 Ethics..............................................4 C. Inventory......................................19 F. Review and Revision.......................4 D. Image File Naming Standards……..19 G. Public Disclosure.............................4 VIII. Collections Care………….......................19 II. Mission and Collections of the Bryn IX. Insurance and Risk Management….....20 Mawr College Special Collections.........4 A. Insurance Policy………....................20 A. Institutional Mission Statement……5 B. General Risk Management……......20 B. History of the Special Collections…5 C. Security……………………………………...20 C. Purpose and Use of the Special X. Access and Use....................................20 Collections .....................................5 A. Collections Access……...................20 -
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 .. -
Found in Collection 2020
FOUND IN Collection From the Archives of the Rochester Hills Museum at Van Hoosen Farm Fall 2020 2. From the Archives and Collections of the Rochester Hills Museum at Van Hoosen Farm Table of Contents Page 3 A Note From the Archivist Hospitality Page 4 Pages 4 - 5 Uncovering the Scrapbook of Rochester’s First Female Postmaster Back in the Day Page 6 Page 7 A Summer Internship at the Museum Page 8 These Letters Tell a Story Learn to Scan Your Photos Page 8 Page 9 A Young Lady on the Woman Question Page 10 Explore Women’s History Pages 11-12 A Trip to Asia Page 10 Found in Collection is a phrase used in the Museum field to describe undocumented Page 9 objects found within a Museum’s collections whose donor, history, and significance are unknown. These items pose the exciting (and sometimes frustrating) challenge of figuring out where they came from. Page 11 From the Archives and Collections of the Rochester Hills Museum at Van Hoosen Farm 3. A Note from the Archivist Hospitality is one of the resident, student, researcher or just someone who pillars of the Rochester loves history, I invite you to explore the Museum’s Hills Museum at Van archives. There is an incredible story waiting for you. Hoosen Farm. Welcoming visitors to our grounds, our buildings, and into In the postscript of Chronicle of Van Hoosen our history is what we Centenary Farm, Sarah Van Hoosen Jones shares do every single day but the story of international delegates of the Associated this began long before Country Women of the World. -
Insights and Hindsights from Deaccessioning
Insights and Hindsights from Deaccessioning Leslie B. Jones | Vice President, Museum Affairs & Curator of Decorative Arts Cheekwood Estate & Garden | Nashville, TN May 17, 2017 Museums preserve and protect more than 1 billion objects Heritage Health Index (2004) borrowed from American Alliance of Museums Visualization of powers of ten from one to 1 billion © CC BY-SA 3.0 UNESCO “Storage-Planning space and fittings” Source: MAP/Reviewer: Zoe Scott/Edits LLW Dec 2006, reviewed JH April 2010 * ORGANIZED THOUGHTS * DEACCESSIONING 101: Survey the Situation DEACCESSIONING 201: Proactivity is Power DEACCESSIONING 301: Research, Research, Research DEACCESSIONING 401: Action and Dispersal * NOT-SO-ORGANIZED THOUGHTS * INSIGHT(S) Recollections and examples of previous work that may prove to be helpful and/or instructive HINDSIGHT(S) Recollections and examples of previous work that demonstrate what is not helpful and/or instructive CHEEKWOOD ESTATE & GARDEN • Constructed between 1929 and 1932 • Private family home from 1932 until 1957 • Donated in 1957 to become the Tennessee Botanical Gardens and Fine Arts Center • Opened to the public in 1960 with Museum space in the historic home • Collection Categories include PERMANENT and ARCHIVAL • Collection overview resulted in an encyclopedic approach with holdings of works on paper, artist books, video art, sculpture, paintings, photography, ceramics, art glass, metal ware, furniture, textiles, ethnographic objects, etc. All IMAGES OWNED BY CHEEKWOOD AND MAY NOT BE REPRODUCED WITHOUT WRITTEN AUTHORIZATION -
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’. -
Cotsen Digital Archaeology Series
UCLA Cotsen Digital Archaeology series Title Archaeology 2.0: New Approaches to Communication and Collaboration Permalink https://escholarship.org/uc/item/1r6137tb Authors Kansa, Eric C. Kansa, Sarah Whitcher Watrall, Ethan Publication Date 2011 Supplemental Material https://escholarship.org/uc/item/1r6137tb#supplemental Peer reviewed eScholarship.org Powered by the California Digital Library University of California ARCHAEOLOGY 2.0 new approaches to communication & collaboration edited by Eric C. Kansa, Sarah Whitcher Kansa, & Ethan Watrall ARCHAEOLOGY 2.0: NEW APPROACHES TO COMMUNICATION AND COLLABORATION Cotsen Digital Archaeology Series Volume 1. Archaeology 2.0: New Approaches to Communication and Collabora- tion, Eric C. Kansa, Sarah Whitcher Kansa, and Ethan Watrall (Editors) ARCHAEOLOGY 2.0: NEW APPROACHES TO COMMUNICATION AND COLLABORATION EDITED BY ERIC C. KANSA, SARAH WHITCHER KANSA, AND ETHAN WATRALL COTSEN DIGITAL ARCHAEOLOGY 1 THE COTSEN INSTITUTE OF ARCHAEOLOGY PRESS is the publishing unit of the Cotsen Institute of Archaeology at UCLA. The Cot- sen Institute is a premier research organization dedicated to the creation, dissemination, and conservation of archaeological knowledge and heritage. It is home to both the Interdepartmental Archaeology Graduate Program and the UCLA/Getty Master’s Program in the Conservation of Archaeological and Ethnographic Materials. The Cotsen Institute provides a forum for innovative faculty research, graduate education, and public programs at UCLA in an effort to positively impact the academic, local and global communities. Established in 1973, the Cotsen Institute is at the forefront of archaeological research, education, conserva- tion and publication and is an active contributor to interdisciplinary research at UCLA. The Cotsen Institute Press specializes in producing high-quality academic volumes in several different series, including Mono- graphs, World Heritage and Monuments, Cotsen Advanced Seminars, and Ideas, Debates and Perspectives.