Open senses ppt
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Transcript of Open senses ppt
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(Digital) Bread and Circuses
Reframing Roman Spectacle forDifferent Screens
Dr. Anna Foka [email protected] Screens as MaterialHUMlab, Umeå University, Sweden
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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)
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Antiquity in 3DUrban Development
Applications of technology in museology
Narratives of digital Heritage
Historical Accuracy?
Experience?
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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)
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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
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The pyramid of implications for multisensory
conceptual&critical making
1. Raw Data?2. Intangible3. Spatiality4. Temporality.
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Hermeneutics VS Ocularcentrism
Witmore (2004 and 2006)
Howes (2005)
Favro (2006)
Drobnick (2006)
Betts (2011 and 2013)
Lindhé (2013)- Digital Ekphrasis
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Making the Intangible-Tangible: Sounds of the Ludi
Acoustic Archaeology
Peripatetic Archaeology
Narratives of Sound>>> Modes of listening >>>sound productionChion (1995)
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Modes of listening
Turii et all (2007) 15-7Order of modes- Cognitive abstraction from low to high
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Samples of Case Studies
Plutarch Cicero 13: Hissing and applausing
Dionysius Halicarnassus, Roman Antiquities, 7.72. 13: Musicians and Procession
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Preliminary conclusions in the making
Critique and Expression
Cultural and Historical Significance
Experience
Database of sounds + Level of Cognitive abstractions?
Screens: Sound + Vision =1
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Thank you!
graffiti comes from Pompeii (CIL IV 10237)
Pompeii Graffiti (CIL IV 10237)
[email protected]: @fencingfox