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Virtual Reality in the Ancient Roman World Dissertation Presented In Creating the Elsewhere: Virtual Reality in the Ancient Roman World Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael R. Bowman, M.A. Graduate Program in History of Art The Ohio State University 2015 Dissertation Committee: Mark D. Fullerton, Advisor Timothy J. McNiven Kristina B. Paulsen Copyright by Michael R. Bowman 2015 Abstract At first glance the ancient world may seem an odd place to study concepts of virtuality, but I believe that looking at the art and architecture of the ancient Romans through the modern lens of the virtual can provide surprising insights into how these spaces were viewed, experienced, and understood by their ancient users and may elucidate a further factor in the development of Roman painting beyond mere changes in aesthetic taste. Using a reexamined definition of the “virtual” that divorces it from a reliance on the digital and modern technology, I will investigate how ancient spaces were used to create environments that were intended to transport the viewer to another often distant or fantastic place, to a virtual “elsewhere.” In explaining how these Roman spaces worked to effect such “transportation” through their architectural forms and decorative schemata, I have had recourse to two primary theoretical frameworks. The first is the burgeoning sub-field of cognitive linguistics known as Text-world Theory, which attempts to provide an understanding of how humans universally process discourse through the creation of mental “worlds” into which they project themselves, a projection which I believe forms the basis of virtual experience. The second is the work of French philosopher Gilles Deleuze, in particular his discussion of framing in his first book on cinema, and his idea of the hors-champ or the ii out-of-field, that which is outside of any bounding frame. For Deleuze, as a set of elements becomes ever more bounded and closed the out-of-field can imbue a it with a certain metaphysical duration, with what he terms a fourth dimension of “time” and a fifth of “spirit.” Thus a (nearly) closed set acquires a certain trans-spatial existence. My dissertation research suggests that the architecture and decorative programs of many Roman houses created just such not-quite-closed sets, and that as a result they appealed to the viewer’s “spirit,” engaging him in imagination of a “more radical elsewhere.” iii Dedication Dedicated to my family, old and new. iv Acknowledgments I would like to acknowledge my advisor, Dr. Mark Fullerton, and also Dr. Timothy McNiven for their guidance and support. v Vita 2005.....................................................Jackson High School, Massillon, OH 2009.....................................................B.A. Archaeology and Classics, Cornell University, Ithaca NY 2009-2010...........................................University Fellow, The Ohio State University 2010 to 2014........................................Graduate Teaching Associate, Department of History of Art, The Ohio State University 2011.....................................................M.A. History of Art, The Ohio State University, Columbus OH 2012-2013............................................Graduate Senator for the Arts, The Ohio State University 2014-2015............................................Vice President, The Council of Graduate Students, The Ohio State University Fields of Study Major Field: History of Art Graduate Interdisciplinary Specialization in Religions of the Ancient Mediterranean vi Table of Contents Abstract................................................................................................................................ii Dedication...........................................................................................................................iv Acknowledgments................................................................................................................v Vita......................................................................................................................................vi List of Figures...................................................................................................................viii Chapter 1: [Re]defining the Virtual.....................................................................................1 Chapter 2: New Frameworks for the Virtual Experience...................................................31 Chapter 3: The Virtual Plane..............................................................................................58 Chapter 4: The Forma Urbis Romae and Virtual Space...................................................113 Chapter 5: The Virtual Enclosure.....................................................................................140 Chapter 6: The Villa Poppaea at Oplontis........................................................................184 Chapter 7: The Virtual Journey........................................................................................220 Chapter 8: The House of the Fruit Orchard.....................................................................255 Concluding Remarks........................................................................................................273 Bibliography.....................................................................................................................276 vii List of Figures Figure 1. Eclogue Text-world 1........................................................................................38 Figure 2. Eclogue World-switch 1....................................................................................40 Figure 3. Eclogue Boulomaic Modal-world.....................................................................42 Figure 4. Eclogue World-switch 2....................................................................................43 Figure 5. Eclogue Epistemic Modal-world 1....................................................................44 Figure 6. Eclogue Epistemic Modal-world 2....................................................................45 Figure 7. Eclogue Epistemic Modal-world 3....................................................................45 Figure 8. Eclogue Negative Modal-world........................................................................46 Figure 9. Eclogue Directive..............................................................................................47 Figure 10. Eclogue Deontic Modal-world........................................................................47 Figure 11. Eclogue Compiled Text-world Chart (part 1)...................................................50 Figure 12. Eclogue Compiled Text-world Chart (part 2)..................................................51 Figure 13. Eclogue Compiled Text-world Chart (part 3)..................................................52 Figure 14. First Style Painting, House of Sallust, Pompeii..............................................67 Figure 15. First Style Painting Text-world 1.....................................................................67 Figure 16. First Style Painting World-switch 1.................................................................69 Figure 17. First Style Painting Boulomaic Modal-world..................................................69 Figure 18. First Style Painting World-switch 2.................................................................70 viii Figure 19. First Style Painting Epistemic Modal-world 1................................................73 Figure 20. First Style Painting Epistemic Modal-world 2................................................73 Figure 21. First Style Painting Complete Text-world Chart.............................................74 Figure 22. Cubiculum, Villa of Publius Fannius Synistor, Boscoreale............................80 Figure 23. Detail, Cubiculum, Villa of Publius Fannius Synistor....................................83 Figure 24. Synistor Cubiculum World-switch 1...............................................................83 Figure 25. Synistor Cubiculum World-switch 2...............................................................84 Figure 26. Synistor Cubiculum World-switch 7...............................................................84 Figure 27. Synistor Cubiculum Epistemic Modal-world 1..............................................85 Figure 28. Synistor Cubiculum Epistemic Modal-world 2..............................................85 Figure 29. Synistor Cubiculum World-switch 3...............................................................87 Figure 30. Detail, Cubiculum, Villa of Publius Fannius Synistor....................................88 Figure 31. Detail, Cubiculum, Villa of Publius Fannius Synistor....................................89 Figure 32. Synistor Cubiculum World-switch 4...............................................................90 Figure 33. Synistor Cubiculum World-switch 5...............................................................90 Figure 34. Synistor Cubiculum World-switch 6...............................................................91 Figure 35. Synistor Cubiculum World-switch 8...............................................................91 Figure 36. Synistor Cubiculum Compiled Text-world Chart...........................................92 Figure 37. Floating Figure on Blue Field, House of the Ancient Hunt, Pompeii.............98 Figure 38. Tablinum, House of Marcus Lucretius
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