Full Description
This volume is a groundbreaking discussion of the role of digital media in research on ancient painting, and a deep reflection on the effectiveness of digital media in opening the field to new audiences.
The study of classical art always oscillates between archaeology and classics, between the study of ancient texts and archaeological material. For this reason, it is often difficult to collect all the data, to have access to both types of information on an equal basis. The increasing development of digital collections and databases dedicated to both archaeological material and ancient texts is a direct response to this problem. The book's central theme is the role of the digital humanities, especially digital collection,s such as the Digital Milliet, in the study of ancient Greek and Roman painting. Part 1 focuses on the transition between the original print version of the Recueil Milliet and its digital incarnation. Part 2 addresses the application of digital tools to the analysis of ancient art. Part 3 focuses on ancient wall painting.
The book will be of interest to scholars working in art history, classics, archaeology, and digital humanities.
Contents
1 Introduction: The Digital Milliet, Between Ancient Painting and Digital Technologies Part 1 From the Recueil Milliet to the Digital Milliet 2 Adolphe Reinach and the Modernity of the Recueil Milliet 3 Commenting the Digital Milliet: From the Print to the Digital Version 4 The Digital Milliet: Development and Roadmap 5 Dire le Décor Antique (DDA): When Greek and Latin Texts meet Realia Part 2 Applying Digital Tools to the Analysis of Ancient Art 6 Enhancing Digital Publications with Alpheios 7 Texts on Artifacts: How to Improve Epigraphic Publication in a Digital Ecosystem 8 Danaids at Rest: Images in Context, Images in Networks: New Keys for the Study of Italiote Funerary Eschatology: Methods, Tools and Initial Results Part 3 Ancient Wall Painting 9 How Were Roman Wall Paintings Made? Material and Textual Evidence 10 Surface and Suggestion: The Materiality of Curtains in Roman Wall Painting 11 Adsere Caelo: Gladiators, Pictorial Space and Visual Culture in Pompei 12 Conclusion
