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Journal articles on the topic 'Digital funeral'
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Alexis-Martin, Becky. "Sensing the deathscape: Digital media and death during COVID-19." Journal of Environmental Media 1, no. 2 (August 1, 2020): 11.1–11.8. http://dx.doi.org/10.1386/jem_00032_1.
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Across cultures, death has traditionally encompassed diverse material and ritual assemblages. Funeral practices are a unifying element of death, presenting an opportunity for communal memorialization of the deceased. These practices are environmentally embedded, spanning traditional graveyards and floral memorials, to contemporary green burials and body farms. However, COVID-19 has disrupted socio-environmental practices, due to disease transmission concerns that have manifested new constraints to funerary space. Here, I contemplate the digital deathscape during COVID-19 through three vignettes: the first considers Hart Island mass-burial drone footage and the emergence of a necropticon. The second vignette considers the emergence of domestic deathscapes and their significance to digitally broadcast (DB) funerals. The third vignette, Billy’s funeral, gives interview-based insights into the porous domestic deathscape of a DB funeral guest, Samantha. All three vignettes contemplate the experience of remotely sensing the deathscape and the scenarios that arise when traditionally hidden or ‘in-place’ death rituals arise ‘out-of-place’.
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Favro, Diane, and Christopher Johanson. "Death in Motion: Funeral Processions in the Roman Forum." Journal of the Society of Architectural Historians 69, no. 1 (March 1, 2010): 12–37. http://dx.doi.org/10.1525/jsah.2010.69.1.12.
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Scientifically accurate, three-dimensional digital representations of historical environments allow architectural historians to explore viewsheds, movement, sequencing, and other factors. Using real-time interactive simulations of the Roman Forum during the mid-Republic and the early third century CE, Diane Favro and Christopher Johanson examine the visual and sequential interrelationships among audience, actors, and monuments during funeral rituals. Death in Motion: Funeral Processions in the Roman Forum presents a hypothetical reconstruction of the funeral of the Cornelii family in the early second century BCE and argues that the conventional understanding of the staging of the funeral oration may be incorrect. It then reviews the imperial funerals of the emperors Pertinax and Septimius Severus to compare the ways that later building in the Roman Forum altered the ritual experience, controlled participant motion, and compelled the audience to submit to an imperial program of viewing.
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Han, Gil-Soo. "Funeral Capitalism: Commodification and Digital Marketing of Funeral Services in Contemporary Korea." Korean Studies 40, no. 1 (2016): 58–77. http://dx.doi.org/10.1353/ks.2016.0002.
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Enari, Dion, and Byron William Rangiwai. "Digital innovation and funeral practices: Māori and Samoan perspectives during the COVID-19 pandemic." AlterNative: An International Journal of Indigenous Peoples 17, no. 2 (May 15, 2021): 346–51. http://dx.doi.org/10.1177/11771801211015568.
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The COVID-19 worldwide pandemic has caused the world to stop. It has disrupted traditional funeral processes for Māori and Samoan peoples. Their collective ways of mourning were particularly affected, as social distance restrictions and travel bans meant they were unable to physically gather in large numbers. Despite the disruption caused by COVID-19, digital innovation has meant these groups have been able to remain socially connected, at a physical distance. This cohort has also been able to maintain collective interconnectivity with their family and friends during times of grief. Through the digital space, funerals are still able to be a communal time of mourning, support and comfort. As insider researchers, we present our stories, chants and oratory during times of sorrow, while centring our collective digital resilience.
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Kneese, Tamara. "Mourning the Commons: Circulating Affect in Crowdfunded Funeral Campaigns." Social Media + Society 4, no. 1 (January 2018): 205630511774335. http://dx.doi.org/10.1177/2056305117743350.
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This article focuses on the role of circulated affect in crowdfunded funeral campaigns, which have attracted little scholarly attention so far. This study is based on content analysis of online campaigns ( N = 50) and qualitative interviews ( N = 10) with campaign supporters and initiators. Its aim is to connect crowdfunded funeral campaigns to the larger digital-sharing economy. The findings of the study suggest that in order to gather sufficient funds to cover funeral costs, individuals share emotionally evocative narratives and images with their social networks and an imagined Internet audience with the expectation of attracting compassion. The study shows that political movements, media coverage, and sharing on social media platforms are integral to the success of campaigns for socially marginal individuals. The article contributes to the growing study of crowdwork and finds persistent structural inequalities in crowdfunding campaigns, thereby contesting the ethos of the digital commons.
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Jouan, P., P. Sadzot, D. Laboury, and P. Hallot. "EXPERIENCE AND ATMOSPHERE OF THE BUILT HERITAGE IN DIGITAL ENVIRONMENT." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 329–37. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-329-2021.
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Abstract. The digital documentation of heritage places produces accurate 3D restitution of their geometry in a virtual environment and can be related to multiple semantic layers to archive, represent, preserve and transmit the knowledge gathered along their lifecycle. The combination of high-density point clouds with other sources of information advises virtual reconstitutions of historical states of a place’s physical realm. The cultural significance of the built heritage lies in the values associated with its tangible and intangible dimensions. Apart from aspects of values related to historical sites’ physical attributes, 3D models can support the representation of intangible elements influencing visitors’ perception of their Genius Loci and supporting new interpretations about their cultural significance. In this framework, 3D animation, rendering, and simulation technologies allow recreating aspects of a place’s atmosphere, like the simulation of lighting conditions and the user’s immersive experience of a heritage site into a virtual environment. This paper focuses on the light perception recreated in a funeral chapel of the Theban Tomb environment by considering the strong spiritual dimension in the conception of funeral sites in ancient Egypt during the New Kingdom period (1550–1069 BC). We investigate the potential of 3D simulation and animation technologies to represent hypotheses about original lighting conditions in such sites. The proposed research is based on the case study of Sennefer’s tomb chapel, also referred to as TT96A, located on the western bank of the Nile, opposite modern Luxor.
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Micoli, L. L., S. Gonizzi Barsanti, G. Caruso, and G. Guidi. "DIGITAL CONTENTS FOR ENHANCING THE COMMUNICATION OF MUSEUM EXHIBITION: THE PERVIVAL PROJECT." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 487–93. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-487-2019.
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<p><strong>Abstract.</strong> The PERVIVAL project aims at developing an interactive system with the preliminary function of explaining a complex museum collection in a simple and immediate way and allowing the visitor to better understand the museum collection he is about to see. In particular, the interactive system aims at enhancing the understanding of the collections of funeral furnishings of Egyptians, which are characterized by a multiplicity of objects of rich symbolism and connected to each other through complex funeral rituals. The idea is to explain the religious creed of ancient Egyptians through the objects placed in the tomb, having in this way a double benefit: enlightening the rituals and placing the objects back in their primary function. In this way, the knowledge of the visitor is not only enlarged through the description of something that is described on papyruses or inscriptions (hence, not comprehensible) but also the proper function of every single object will be explained through the connection among them, as a function of amulets or goods necessary to travel through the <i>World of the Dead</i>. The connection between the different objects allows a much greater understanding of the exposed collection that would be perceived in this way not as a set of single isolated pieces, but as a harmonious set of complementary elements between they represent a specific historical-cultural context.</p>
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Wardani, R., and M. J. Husada. "Digital Self-Learning: Engaging Students in Studying Salat Al-Janazah (The Islamic Funeral Prayer) Based-on Digital Self-Learning." Journal of Physics: Conference Series 1413 (November 2019): 012036. http://dx.doi.org/10.1088/1742-6596/1413/1/012036.
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van Ryn, Luke, James Meese, Michael Arnold, Bjorn Nansen, Martin Gibbs, and Tamara Kohn. "Managing the consumption of death and digital media: The funeral director as market intermediary." Death Studies 43, no. 7 (January 9, 2019): 446–55. http://dx.doi.org/10.1080/07481187.2018.1522387.
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Masséglia, Jane. "Rome's Walking Dead: Resurrecting a Roman Funeral at the Ashmolean Museum." Journal of Classics Teaching 17, no. 33 (2016): 31–34. http://dx.doi.org/10.1017/s2058631016000088.
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The Ashmolean Latin Inscriptions Project (AshLI) is a three-year collaboration between the universities of Warwick and Oxford, and the Ashmolean Museum. Its remit comprises, aside from photographing, cataloguing and translating the Museum's collection of more than 350 Latin-inscribed objects, a wide-ranging programme of public- and schools-engagement: as well as the epigraphers (inscriptions specialists), imaging experts and digital encoders, Professor Alison Cooley's team also includes a PGCE-qualified Classics teacher and blogger, and a trained podcast producer. Their aim is to tell stories of Roman life, using inscriptions as a starting point, through INSET days, free teaching resources, short films and regular podcasts made available through the project's blog ‘Reading, Writing, Romans’. In 2015, the team organised the first in a series of large-scale, direct public engagement events, when it staged a Roman funeral procession in the Ashmolean Museum.
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Lambert, Alex, Bjorn Nansen, and Michael Arnold. "Algorithmic memorial videos: Contextualising automated curation." Memory Studies 11, no. 2 (November 23, 2016): 156–71. http://dx.doi.org/10.1177/1750698016679221.
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Web platforms such as Facebook and Google have recently developed features which algorithmically curate digital artefacts composed of posts taken from personal online archives. While these artefacts ask people to fondly remember their digital histories, they can cause controversy when they depict recently deceased loved ones. We explore these controversies by situating algorithmic curation within the media ethics of grief, mourning and commemoration. In the vein of media archaeology, we compare these algorithms to similar work done by skilled professionals using older media forms, drawing on interviews with Australian funeral slideshow curators. This professional commemorative labour makes up part of a broader, institutionalised system of ‘death work’, a concept we take from thanatology. Through the media ethics of death work, we critique the current shortcomings of algorithmic memorials and propose a way of addressing them by ‘coding ethically’.
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Hampton, Viggy. "Grandma Ruth's UP Truck Stop." After Dinner Conversation 2, no. 5 (2021): 71–97. http://dx.doi.org/10.5840/adc20212544.
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Is a digital copy of a loved as socially valuable as the real person? Is there an advantage if being able to permanently lose the ones we love? In this work of philosophical short story fiction, Rachel receives a letter while at University informing her that her Uncle Stewart has passed away. She returns to the small town for the funeral and talks with Grandma Ruth, the local restaurant owner. Grandma Ruth sets Rachel up a date, but things don’t go quite as planned. Rachel confronts Grandma Ruth and finds out that she has slowly been replacing the town citizens with robot copies in order to keeping the dying town’s population from dwindling to zero. The story ends with Grandma Ruth asking Rachel to take over the responsibility of maintaining her families, and the towns, robot population.
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Shipley, Lucy. "Leaping to conclusions: archaeology, gender and digital news media." Antiquity 89, no. 344 (April 2015): 472–77. http://dx.doi.org/10.15184/aqy.2014.46.
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In the autumn of 2013, a discovery was made in the Doganaccia necropolis close to the ancient Etruscan city of Tarquinia. A sepulchre was uncovered, mercifully and unusually unlooted. Inside were the remains of two individuals and a range of grave goods, allowing the tomb to be typologically dated to the late seventh or early sixth century BC. One of the individuals had been cremated, while the other was laid out in a supine position. Both were placed on funeral benches similar to those known from Etruscan tombs across the region (Steingräber 2009). This excavation was as unusual as it was spectacular—the equally vigorous efforts of nineteenth-century enthusiasts (Leighton 2004: 12) and twentieth-century tomb robbers (van Velzen 1999: 180) have left little of the Etruscan burial record undisturbed. Unsurprisingly, there was a great deal of media excitement over the burial, as its excavator, distinguished Etruscan scholar Alessandro Mandolesi, spoke with the press of his impressions of the remains and their relationship to the artefacts found in the tomb. Little of his exact words remain in the public sphere, but the impression he provided to the press was clear in the flurry of media reports that followed his statement. The ensuing media interest and archaeological developments present a number of serious issues for the practice of archaeology in an age in which digital media can magnify the impact of any major discovery. In addition, the interpretation put forward exposed the continued androcentrism inherent in many sub-disciplines of archaeology, which, 30 years on from Conkey and Spector's (1984) transformative publication, remain locked in deeply problematic interpretative patterns. This interpretation of the Tarquinia burial is emblematic of a far wider phenomenon, both within and beyond Italy, which has serious implications for future archaeological practice. This article unpicks both the media storm and interpretative paradigms that characterised this case study, and queries archaeological responsibility and visibility in an age of 24-hour news.
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Campos, Guadalupe Do Nascimento, Marcus Granato, Antonieta Middea, and Ricardo Tadeu Lopes. "ARQUEOMETRIA APLICADA À CONSERVAÇÃO DO PATRIMÔNIO ARQUEOLÓGICO METÁLICO: UM ESTUDO DE CASO DO SÍTIO FUNERÁRIO DE SÃO GONÇALO GARCIA, RIO DE JANEIRO." Cadernos do LEPAARQ (UFPEL) 15, no. 30 (November 30, 2018): 290. http://dx.doi.org/10.15210/lepaarq.v15i30.13620.
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O presente trabalho apresenta alguns dos resultados obtidos no âmbito do projeto de pesquisa Conservação e Caracterização Microanalítica de Objetos Arqueológicos Metálicos, desenvolvido no Museu de Astronomia e Ciências Afins - MAST. O projeto tem como objetivo principal estabelecer metodologias de caracterização e conservação do patrimônio arqueológico metálico. Os artefatos selecionados para o estudo de caso são provenientes do Sítio Funerário da Igreja São Gonçalo Garcia (região central do Rio de Janeiro), relacionados aos séculos XVIII e XIX. Para os exames arqueométricos, foram empregadas as seguintes técnicas de caracterização: radiografia digital e microtomografia computadorizada de raios X, microscopias estereoscópica e eletrônica de varredura, espectroscopia de energia dispersiva (MEV/EDS) e difratometria de raios X. Foram obtidas informações sobre a composição dos artefatos (fase metálica e alguns produtos de corrosão), detalhes da morfologia em 3D não visíveis a olho nu, extensão da mineralização, dentre outros aspectos. Abstract: This paper presents some of the achieved results in the "Microanalytical Conservation and Characterization of Metallic Archaeological Objects" research project, developed at the Museum of Astronomy and Related Sciences - MAST. The project's main goal is to establish methodologies for characterization and conservation of the metallic archaeological heritage. The artifacts selected for the case study are from the Funeral Site at São Gonçalo Garcia's Church (Rio de Janeiro's central region), related to the 18th and 19th centuries. For the archaeometric examinations, the following characterization techniques were employed: digital radiography and X ray microtomography, stereoscopic and scanning electron microscopy, energy-dispersive X ray spectroscopy (SEM / EDS) and X ray diffraction. Results were obtained about the artifacts's composition (metallic phase and some corrosion products), 3D morphology details invisible to the naked eye, and the extent of the mineralization, among other aspects.
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Gonizzi Barsanti, S., G. Caruso, L. L. Micoli, M. Covarrubias Rodriguez, and G. Guidi. "3D Visualization of Cultural Heritage Artefacts with Virtual Reality devices." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 11, 2015): 165–72. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-165-2015.
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Although 3D models are useful to preserve the information about historical artefacts, the potential of these digital contents are not fully accomplished until they are not used to interactively communicate their significance to non-specialists. Starting from this consideration, a new way to provide museum visitors with more information was investigated. The research is aimed at valorising and making more accessible the Egyptian funeral objects exhibited in the Sforza Castle in Milan. The results of the research will be used for the renewal of the current exhibition, at the Archaeological Museum in Milan, by making it more attractive. A 3D virtual interactive scenario regarding the “path of the dead”, an important ritual in ancient Egypt, was realized to augment the experience and the comprehension of the public through interactivity. Four important artefacts were considered for this scope: two ushabty, a wooden sarcophagus and a heart scarab. The scenario was realized by integrating low-cost Virtual Reality technologies, as the Oculus Rift DK2 and the Leap Motion controller, and implementing a specific software by using Unity. The 3D models were implemented by adding responsive points of interest in relation to important symbols or features of the artefact. This allows highlighting single parts of the artefact in order to better identify the hieroglyphs and provide their translation. The paper describes the process for optimizing the 3D models, the implementation of the interactive scenario and the results of some test that have been carried out in the lab.
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Giuffrida, Dario, Viviana Mollica Nardo, Daniela Neri, Giovanni Cucinotta, Irene Vittoria Calabrò, Loredana Pace, and Rosina Celeste Ponterio. "A Multi-Analytical Study for the Enhancement and Accessibility of Archaeological Heritage: The Churches of San Nicola and San Basilio in Motta Sant’Agata (RC, Italy)." Remote Sensing 13, no. 18 (September 17, 2021): 3738. http://dx.doi.org/10.3390/rs13183738.
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In the coming years, Italy will need to take on a great challenge concerning the digitization of its archaeological and architectural heritage, one of the richest and most problematic in the world. The aim is to improve the knowledge, conservation, enhancement and accessibility of cultural assets and to make them a resource for national and local development. In this process, the next generation of 3D survey methods (laser scanning and photogrammetry), in combination with diagnostic techniques (spectroscopy analyses) and GIS/BIM (Geographic Information System/Building Information Modeling) solutions, represent a valid support. This work, part of a broader intervention launched by the Municipality of Reggio Calabria for the requalification of some archaeological sites located within its urban and metropolitan area, is focused on the study case of Motta S. Agata. The ancient settlement is located 8 km from Reggio C. in a hilly area difficult to reach and preserves numerous structures in a state of ruin. Among these, two interesting medieval churches are proposed for examination: the church of San Nicola, characterized by five hypogeal funeral crypts, and the chapel of San Basilio, which preserves the traces of a wall painting. A multi-methodological approach including close-range photogrammetry, laser scanning and chemical and thermal analyses was adopted in order to fulfill different tasks: creating a topographic model of the hillfort, mapping the archaeological evidence, digitizing and returning 3D models of the churches, characterizing materials through chemical analyses and monitoring the surfaces with thermal imaging. These combined applications have contributed to reaching the planned goals, i.e., study, conservation, diagnostics, preparation for restoration interventions, development of digital media and dissemination. In this way, a type of interactive museum (made up of virtual tours and informative digital models) has been made available in order to improve the site’s accessibility and inclusivity as well as to test the effect of digitization in attracting tourists and local people toward a place located outside of the usual tourist circuits.
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Jeffrey, Thomas. "“When the Cat is Away the Mice Will Work”: Thomas Alva Edison and the Insomnia Squad." New Jersey History 125, no. 2 (December 31, 2010): 1–22. http://dx.doi.org/10.14713/njh.v125i2.1056.
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Over the past one hundred years, the phrase ―Insomnia Squad‖ has evolved from an inside joke among a few of Thomas Edison‘s laboratory staffers into a term of popular culture, familiar even to school children. Yet very little has been written about the seven experimenters who constituted the task force that Edison assembled in September 1912, why the inventor chose these particular individuals to assist him, the nature of the problem with which he was grappling, or how it was ultimately resolved. Edison and his assistants worked night and day for five weeks with only a minimal amount of sleep, yet no adequate explanation has been offered as to why the inventor drove his men so hard. This article, based on the documents in the microfilm and digital editions of the Thomas A. Edison Papers, reveals that this period of intense activity coincided with a family crisis, as Edison‘s wife Mina rushed to Akron, Ohio, to tend to her dying mother, while her inventor husband raced to perfect the Diamond Disc record before he was called away to attend the funeral. With a million dollars worth of phonographs piled up in the warehouse and no records to sell along with them, Edison and his men pushed round the clock to work out the bugs in the manufacturing process and bring the Diamond Disc to market. Although seven experimenters assisted Edison, only six appear in the group photograph that was taken at the end of the marathon session. The identity of the seventh ―Insomniac‖ is revealed at the end of the article.
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Jacob, Aristotle, and Wakama Ateduobie. "SOCIAL CHANGE, CRIMINALITY AND COVID-19: THE NIGERIAN CASE STUDY." International Journal of Comparative Studies in International Relations and Development 6, no. 1 (December 21, 2020): 14–27. http://dx.doi.org/10.48028/iiprds/ijcsird.v6.i1.02.
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This study examine how covid-19 has induced social changes and criminality in Nigeria as a result of economic lockdown, restriction on inter-state movement, closure of international borders, restriction of religious worship, restrictions on all forms of marital rites, ban on all burial and funeral activities, suspension of all educational activities, and social interactions replaced by social distancing. Due to this alteration of the normal human life, and since survival is key, hence the issue of criminality. This paper examined cases of criminality in the country during lockdown, government interventions to mitigate the increase in criminality as a result of the pandemic, implication of covid-19 on fashion, determinant, forms and resistance to social change. The paper is qualitative in nature and relied principally on secondary data to achieved the scope of the study, these includes publications sourced from text books, bulletins, journals, government documents, newspapers and internet. The conflict and conspiracy theory of social change was adopted as the theoretical framework for the study. The findings in this study showed that the government with the aim to mitigate the spread of the pandemic in the country restricted the movement of its citizens with compulsory sit-at-home, thus affecting the normal life of its citizens, government intervention at the federal, state and local level is grossly inadequate to cushion the effect of the epidemic on the vulnerable citizens of the country, several structural factors helped triggered Nigeria’s current economic crises such as poor public health infrastructure, institutional corruption, weak and underdeveloped digital economy, lack of social welfare programme, leadership problem, over-dependent on oil sector of the economy, lack of saving culture and, high debt profile of Nigeria. The paper recommends that government should create an enabling environment to increase the standard of living of its citizens as poverty fuels criminality, the government should not politicalize the distribution of relief materials to victims in the face of emergencies, since the protection of the welfare and well-being of the people is the reason for governance, need for good governance and the rule of law, and government should improve capacity-building strategies for adequate security of life and property in Nigeria.
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Buscemi, Francesca, and Marianna Figuera. "The Contribution of Digital Data to the Understanding of Ritual Landscapes. The Case of Calicantone (Sicily)." Open Archaeology 5, no. 1 (December 23, 2019): 468–83. http://dx.doi.org/10.1515/opar-2019-0029.
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AbstractP. Militello (University of Catania) and A. M. Sammito (Superintendence of Cultural Heritage, Ragusa) directed excavations around a necropolis of at least 90 rock-cut tombs at Calicantone (RG) in southeastern Sicily, which until then had only partially been investigated. As well as providing new archaeological data about the corresponding village in terms of its area, the research team also discovered the remains of an isolated bi-apsidal hut dated to the late Sicilian EBA (XVIIth–XVIth century B.C.). The hut is presumed as a funerary building primarily intended for the preparation of corpses for burial. Its position, directly between the village and the necropolis, demonstrates its crucial role in the sacral landscape, while spatial distribution analyses indicate that other commemorative rituals were conducted in specific spaces in, and around, the actual tombs. The paper presents a reconstruction of the ancient cultural landscape highlighting the possible passageway that connected life in the village with death in the necropolis, through the interceding funerary hut, and the location of potential ritual areas in the necropolis. Digital spatial datasets and visualization tools (e.g. topographic maps, shaded Digital Elevation Model (DEM), visibility analyses, 3D virtual models, animations, etc.) proved to be fundamental in the reconstruction of funerary activities.
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Barreau, Jean Marc. "Study of the Changing Relationship between Religion and the Digital Continent—In the Context of a COVID-19 Pandemic." Religions 12, no. 9 (September 8, 2021): 736. http://dx.doi.org/10.3390/rel12090736.
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This article proposes to study the changing relationship between religion and the digital continent as a result of the COVID-19 pandemic. To achieve this objective, the paper is divided into three parts. First, it offers an overview of the connection between religion and the digital environment, outlining four possible paradigms of the open relationship between these two worlds. Second, the article discusses the research project undertaken during the COVID-19 pandemic on behalf of the Corporation of Thanatologists of Quebec, focusing on the relationship between delayed funerals and delayed grief. In particular, this article deals with one of the solutions proposed to thanatologists, i.e., the development of a culture of bimodal ritual, both in person and remote, and therefore partly digital. Using this solution as a pointer, religion’s shift toward digital technology in the COVID-19 period is analyzed in the third part of the article. To this end, the four paradigms drawn from the overview are set against the research focus areas resulting from the solution proposed to the Corporation of Thanatologists.
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Micoli, Laura Loredana, Giandomenico Caruso, and Gabriele Guidi. "Design of Digital Interaction for Complex Museum Collections." Multimodal Technologies and Interaction 4, no. 2 (June 22, 2020): 31. http://dx.doi.org/10.3390/mti4020031.
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Interactive multimedia applications in museums generally aim at integrating into the exhibition complementary information delivered through engaging narratives. This article discusses a possible approach for effectively designing an interactive app for museum collections whose physical pieces are mutually related by multiple and articulated logical interconnections referring to elements of immaterial cultural heritage that would not be easy to bring to the public with traditional means. As proof of this concept, a specific case related to ancient Egyptian civilization has been developed. A collection of Egyptian artifacts such as mummies, coffins, and amulets, associated with symbols, divinities, and magic spells through the structured funerary ritual typical of that civilization, has been explained through a virtual application based on the concepts discussed in the methodological section.
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Papantoniou, Giorgos, Apostolos Sarris, Christine E. Morris, and Athanasios K. Vionis. "Digital Humanities and Ritual Space: A Reappraisal." Open Archaeology 5, no. 1 (May 4, 2020): 598–614. http://dx.doi.org/10.1515/opar-2020-0103.
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AbstractIn this editorial article for the Special Issue on Unlocking Sacred Landscapes: Digital Humanities and Ritual Space, we introduce the applicability of digital humanities to the study of ritual space. The Issue focuses on digital approaches both to ritual space and to artefacts relating to ritual practice and cult. The terms ritual and cult are used broadly to include sanctuaries, temples and churches, as well as the domestic and funerary spheres of life. We include contributions with a strong methodological focus on computational developments, digitisation processes and spatial analyses. Although the main focus of the Unlocking Sacred Landscapes (UnSaLa) Research Network is the Mediterranean region, we have also encouraged colleagues working in other areas of the world to contribute to this volume, with a view to stimulating wider methodological dialogues and comparative approaches. The chronological span ranges from prehistory to the recent past, and includes cultural heritage management.
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Gould, Hannah, Michael Arnold, Tamara Kohn, Bjørn Nansen, and Martin Gibbs. "Robot death care: A study of funerary practice." International Journal of Cultural Studies 24, no. 4 (June 14, 2021): 603–21. http://dx.doi.org/10.1177/1367877920939093.
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Across the globe, human experiences of death, dying, and grief are now shaped by digital technologies and, increasingly, by robotic technologies. This article explores how practices of care for the dead are transformed by the participation of non-human, mechanised agents. We ask what makes a particular robot engagement with death a breach or an affirmation of care for the dead by examining recent entanglements between humans, death, and robotics. In particular, we consider telepresence robots for remote attendance of funerals; semi-humanoid robots officiating in a religious capacity at memorial services; and the conduct of memorial services by robots, for robots. Using the activities of robots to ground our discussion, this article speaks to broader cultural anxieties emerging in an era of high-tech life and high-tech death, which involve tensions between human affect and technological effect, machinic work and artisanal work, humans and non-humans, and subjects and objects.
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McEvoy, Carly. "Public Archaeology of Church Monuments." AP: Online Journal in Public Archaeology 8, no. 2 (October 12, 2018): 99. http://dx.doi.org/10.23914/ap.v8i2.156.
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Church monuments within the parish church can provide a wealth of information to the public about the history of that community as well as broader social themes. However, traditionally, publicity available on monuments can be limited and churches operate disparate levels of public access and engagement. Where such access and information is available there is a tendency to focus on the most elaborate and anthropomorphic styles, such as effigies, with a concentration on who they represent. This article will consider why church monuments may be important to communities, and the impediments the public may face when engaging with church monuments, ranging from practical reasons such as accessibility, to the provision of misinformation, selective information, or the lack of any resources being provided. Finally, the article will consider how information about, and engagement with, funerary monuments within the parish church setting is consistent, well researched, and publicly available via digital and non-digital media.
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Selden, Robert Z., Timothy K. Perttula, and Michael J. O’Brien. "Advances in Documentation, Digital Curation, Virtual Exhibition, and a Test of 3D Geometric Morphometrics." Advances in Archaeological Practice 2, no. 2 (May 2014): 64–79. http://dx.doi.org/10.7183/2326-3768.2.2.64.
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AbstractThree-dimensional (3D) digital scanning of archaeological materials is typically used as a tool for artifact documentation. With the permission of the Caddo Nation of Oklahoma, 3D documentation of Caddo funerary vessels from the Vanderpool site (41SM77) was conducted with the initial goal of ensuring that these data would be publicly available for future research long after the vessels were repatriated. A digital infrastructure was created to archive and disseminate the resultant 3D datasets, ensuring that they would be accessible by both researchers and the general public (CRHR 2014a). However, 3D imagery can be used for much more than documentation. To illustrate this, these data were utilized in a 3D morphometric analysis of the intact and reconstructed vessels to explore the range of variation that occurs in ceramic vessel shape and its potential contribution to the local ceramic taxonomy. Results of the 3D morphometric analysis demonstrate the potential for substantive analytical gains in discussions of temporal resolution and ceramic technological organization in the ancestral Caddo region.
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Hupperetz, Wim, Raffaele Carlani, Daniel Pletinckx, and Eva Pietroni. "Etruscanning 3D project. The 3D reconstruction of the Regolini Galassi Tomb as a research tool and a new approach in storytelling." Virtual Archaeology Review 3, no. 7 (November 18, 2012): 92. http://dx.doi.org/10.4995/var.2012.4395.
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<p>In the “Etruscanning3D” european project framework, the virtual reconstruction of the Regolini Galassi tomb, in Cerveteri, has been realized, in order to recontextualize its precious funerary goods, today preserved in the vatican Museums, in their ancient space, digitally represented in 3D. The reconstruction has been preceded by a huge work of data collection, reinterpretations, topographical acquisitions through a variety of techniques, digital restorations, in order to create a plausible simulation of how the tomb could appear when it was closed, at the half of the VII century BC. The final purpose of the VR application is communication inside museums, so the narrative approach and the metaphors of interactions played another key role.</p>
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Silverstein, Shayna M. "Mourning the Nightingale’s Song: The Audibility of Networked Performances in Protests and Funerals of the Arab Revolutions." Performance Matters 6, no. 2 (March 16, 2021): 94–111. http://dx.doi.org/10.7202/1075803ar.
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Given the salient role of embodied tactics in contemporary networked protests in performance, in this essay I listen for how the embodied sonic praxis of protests during the Arab revolutions translates into the audio, visual, and text modalities of digital media. I propose audibility, or the appearance and perceptibility of sound objects, as that which translates the “live” sound that occurs in physical spaces into representational spaces, and, in so doing, alters the temporality and spatiality of the sonic experience. Interrogating who and what are rendered audible as part of the political contestations that drive protest actions, I demonstrate how audibility is a technological condition, sensory force, and social process through which affective publics emerge in networked spaces. I begin with social media posts from the first months of non-violent protest actions in 2011, in Egypt and Syria, analyzing the translation of sonic objects into written texts that narrativize the subjects and spaces of the Arab revolutions. I then shift to the sonic praxis of revolutionary mourning in a discussion of the audibility of the crowd in footage of protest funerals that reclaimed martyrs of the Syrian revolution in 2018 and 2019, interrogating how the sounds of the crowd enable the mythologization of the martyrs’ bodies and help mobilize the cause for which they died. Both approaches to audibility – as expressing voice and documenting sounds – underscore how audibility, I argue, is crucial for understanding the affect-rich intensities that drive networked protest performances, and that forge political possibilities as imaginable, sensible, and perceptible.
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Buzi, Costantino, Ileana Micarelli, Robert R. Paine, Antonio Profico, Daniela Messineo, Mary Anne Tafuri, and Giorgio Manzi. "Digital imaging techniques applied to a case of concha bullosa from an early medieval funerary area in central Italy." International Journal of Paleopathology 31 (December 2020): 71–78. http://dx.doi.org/10.1016/j.ijpp.2020.10.002.
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Mielczarek, Natalia. "The dead Syrian refugee boy goes viral: funerary Aylan Kurdi memes as tools of mourning and visual reparation in remix culture." Visual Communication 19, no. 4 (September 3, 2018): 506–30. http://dx.doi.org/10.1177/1470357218797366.
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The picture of 3-year-old Syrian refugee Aylan Kurdi, whose dead body washed up on a Turkish beach in September 2015, was lauded as iconic after it went viral. Within hours, Aylan was a symbol, a hashtag and a meme. This project analyzes funerary Aylan memes to understand their meanings and functions as they proliferated in cyberspace. Through iconographic tracking and visual rhetorical analysis, the project expands the functions of memes from visual jokes and social and political commentary to tools of grieving and atonement. The study demonstrates how memes are deployed to subvert and renegotiate reality, in this case to create a ‘better ending’ for the child and seek reparations for his death. The project also suggests that the rhetorical powers of iconic images may be eroding in remix culture due to their digital appropriations.
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Serrano Lara, Libertad, and Luisa María García González. "Documentación arqueológica tridimensional de la cultura material en la terraza sureste de la necrópolis de Qubbet el-Hawa (Asuán): potencial y difusión pública de resultados." Trabajos de Egiptología. Papers on Ancient Egypt, no. 10 (2019): 387–401. http://dx.doi.org/10.25145/j.tde.2019.10.22.
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Qubbet el-Hawa (Aswan): Potential and Public Dissemination of the Results The material culture found in the necropolis of Qubbet el-Hawa stands out for its typological and chronological diversity and quality. It is possible to reconstruct different chapters of the history of the First Nome of Upper Egypt thanks to material culture studies. Furthermore, these studies allow us to detect changes in funerary rituals. Qubbet el-Hawa is an excellent archaeological site to be documented with the latest technologies, especially three-dimensional modelling. The updated work on the digital artefact collection from the Qubbet el-Hawa Project offers a three-dimensional open access library, which allows users to visit a virtual museum of the material culture recovered in the necropolis. This paper presents the methodology applied to maximize the potential of three-dimensional archaeological documentation for the public dissemination of the research results.
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Fregonese, L., N. Giordani, A. Adami, G. Bachinsky, L. Taffurelli, O. Rosignoli, and J. Helder. "PHYSICAL AND VIRTUAL RECONSTRUCTION FOR AN INTEGRATED ARCHAEOLOGICAL MODEL: 3D PRINT AND MAQUETTE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 22, 2019): 481–87. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-481-2019.
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<p><strong>Abstract.</strong> Museums perform various tasks such as collecting, cataloguing and preserving the cultural heritage (CH). In addition, they have an institutional task, which is to disseminate the heritage, discovering the most efficient tools to tell how a monument to the origin could have looked. In this process of knowledge and dissemination, digital technologies play an important role. In fact, they allow building a digital archive in which virtual copies of found objects are available to scholars for more or less in-depth analysis. Digital archives of this type also allow the dissemination of scientific data, constituting, if published, databases accessible everywhere. The role of the digital archive is also to preserve the characteristics of the finds, which are often already deteriorated, without worsening the situation through their continuous manipulation or movement. Of course, the construction of digital copies must be done in the most rigorous way so as to guarantee scholars the truthfulness of the data being analysed, and building procedures as standardized as possible to allow their use even by unskilled personnel. Moreover, museums have the very complex task of communicating the heritage, which envisages two steps: reconstruction and communication. The first phase, reconstruction, is a very complex operation, especially in the archaeological field, where there are few documents and the hypotheses are based on principles of similarity. Since no direct reference is available, the reconstruction takes place through comparison with similar objects from the same period, the same area and with the same function. Communication, then, has the task of disseminating the results and the hypotheses made, with the most appropriate tools. 3D printing allows to build three-dimensional models of reality, and therefore immediately comprehensible, even of complex forms, not always achievable with the traditional tools of modelling tools. This article describes this complex process, and its application to the funerary aediculae monument at the Museo Archeologico di Mantova, on the occasion of the refurbishment of the museum and its exhibits. In this experience, the use of new technologies is being investigated in combination with more traditional methods of representation, the maquette, but not less effective.</p>
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Voutsaki, Sofia, Tamara M. Dijkstra, Olivia A. Jones, Lidewijde De Jong, Vana Kalenderian, Paula Kalkman, Eleni Milka, et al. "Pronkjewails in verre oorden: Gronings onderzoek naar de dood in het oostelijk Middellandse Zeegebied." Paleo-aktueel, no. 31 (June 1, 2021): 135–44. http://dx.doi.org/10.21827/pa.31.135-144.
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Pronkjewails in distant places: Mortuary studies in the eastern Mediterranean by the GIA. The Greek Archaeology research group of the GIA specializes in mortuary archaeology, studying sites in the eastern Mediterranean and Middle East that date from the Bronze Age through to the Late Roman period. Our methodology includes theoretical approaches; cemetery excavations; the analysis of legacy data; studies of grave architecture, tombstones and grave goods; osteological analyses; digitization of datasets and digital applications; and DNA analysis, as well as isotopic and biomolecular studies, and we are focused on performing integrated studies with thorough contextual analyses. Our central question is how people dealt with death and what their funerary remains tell us about their lives and their world. Together with our local and international network of researchers and laboratories, our staff and students aim to perform innovative research, reach out to the public, and provide diverse perspectives on life and death in the ancient eastern Mediterranean.
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Silver, M., M. Törmä, K. Silver, J. Okkonen, and M. Nuñez. "The possible use of ancient tower tombs as watchtowers in Syro-Mesopotamia." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5/W3 (August 12, 2015): 287–93. http://dx.doi.org/10.5194/isprsannals-ii-5-w3-287-2015.
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Traditionally polygonal tower tombs dating from the Greco-Roman era, especially found in the area of Syro-Mesopotamia, have only been treated as funerary structures without discussion of their other possible purposes. In this paper we wish to inquire whether they had other functions as well. The most famous examples of these types of tombs are situated in Palmyra in Syria. They are built of limestone, follow a square layout, and some exceed the height of 20 m. Similar structures are found in the Euphrates valley of Syria. The Finnish project SYGIS that worked in the neighbourhood of the Euphrates and Palmyra during the previous decade studied some of the structures in the region. As far as the tower tombs are concerned, our research suggests that new structural, topographical and spatial aspects can be raised, and GIS (Geographic Information Systems) can be applied for analysing their properties for visibility. The tendency to locate tower tombs along roads and the entrance areas of a city as well as at a mountain edge seems to indicate that the tombs may have had observational functions serving as watch towers. The aspects of the location in terrains are emphasized in the present study, and digital terrain models were utilized using SRTM DEM (Digital Elevation Model) data for carrying out viewshed analyses in order to survey the observational qualities of the towers in Palmyra, on Halabiya, on Jebel Bishri in Syria and Hatra in Iraq.
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Ogáyar-Marín, Francisco-Javier, Vasile Muntean, and Juan-Francisco Gamella-Mora. "Redes sociales digitales en la migración trasnacional romá de Rumanía. Una polymedia transnacional = Digital Media and Digital Networks in the Romanian Roma Migration: A new transnational polymedia." Revista de Humanidades, no. 35 (October 11, 2018): 107. http://dx.doi.org/10.5944/rdh.35.2018.19813.
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Resumen: En este artículo estudiamos la convergencia de la migración romá rumana posterior a 1989 con el desarrollo de las tecnologías de la información y la comunicación (TIC) a partir de ese mismo período. Para ello hemos partido del trabajo etnográfico previo realizado durante dos campañas entre 2003-2007 y 2013-2016 respectivamente con siete redes romá Korturare procedentes de las regiones rumanas de Transilvania y el Bánato, centrándonos en tres de ellas por su presencia en la ciudad de Granada. El rol de los recursos de polymedia, un entorno emergente de posibilidades comunicativas, facilita y alienta los desplazamientos migratorios al reducir incertidumbres y permitir experiencias de copresencia (digitalizada) en un contexto transnacional. Esta situación favorece dinámicas de reproducción y control cultural, pero a la vez habilita y permite usos diferenciados en polymedia que esbozan transformaciones en las costumbres romá.Abstract: In this paper we explore the convergence of two contemporary parallel processes: the post-1990 transnational migration of Roma groups from some Eastern European countries, particularly Romania to the West, and the growing use by these populations of the expanding social media derived from the revolutionary development of new ICT (information and communication technologies). We have followed some groups from Transylvania and Banat to their western diaspora in a long-term ethnographic work that started in 2003 and was retaken in a recent ethnographic project (2013-2017). We have studied primarily groups living in Andalusia, although their family networks are extended today over more than 30 localities in a dozen of European and North American countries. These networks of networks form a social space or commuinity or reference that is largely maintained through digital communication. The different social media and communication options (from Facebook to cheap phone calls) generate a new kind of virtual environment or polymedia (Madianou and Miller 2011, 2012). In this paper we explore the effects of this new social space of communication in three major aspects of Roma social life: 1)Its effects in facilitating, supporting and inducing mobility and migration; 2) In cultural reproduction and transformation through the maintenance of specific systems of family, marriage, gender and conflict resolution, including the online transmission of public trials and courts (kris), funerary rituals and elaborated marriage ceremonies, including betrothal (mangaimo) and weddings (abev); and 3)In new processes of social distinction and differentiation following fracture lines of class, gender and generation.
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Galizia, Mariateresa, Cettina Santagati, and Mariarita Sgarlata. "Topografía digital y nuevas perspectivas en el oratorio bizantino de la catacumba de Santa Lucía de Siracusa." Virtual Archaeology Review 5, no. 11 (October 23, 2014): 42. http://dx.doi.org/10.4995/var.2014.4175.
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The study conducted Oratory Byzantine catacombs of Saint Lucia in Syracuse comes from the observation of the precarious condition of the underground funerary complex from the point of view of the static structures, which have undergone several alterations over the centuries due to landslides, blockages, collapses and subsequent excavations, conservation of the frescoes found that as a result of survey campaigns that have occurred intermittently on the monument. These difficulties have conditioned the public opening of only a part of the catacombs -la region A and the Oratory of the Forty Martiri- leaving hidden the community many significant spaces including the Oratory. The research will then, through the survey instrument with laser scanner, acquire a geometric-formal documentation of this important area through a 3D model on which to investigate aspects of a static nature, geological, material, historical, archaeological, necessary for a proper design of future interventions for the protection and consolidation of the catacomb. In fact, the 3D model obtained is a virtual copy of the recorded space through which it is possible to speculate on some design and physical environmental conditions of the sites, such as lighting and ventilation, and on some solutions distribution-functional, providing also a possible model for 3D navigation allows the virtual tour of the places underground. The location of the site, the distribution of the planimetric and static environmental conditions represented in research critical issues to be addressed in the survey phase of underground sites, providing for the research group of the fixed points on which to structure a possible protocol operating acquisition, integration, management and processing of the acquired data subject to change.
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Coppola, M., S. Bracci, E. Cantisani, and D. Magrini. "THE TOMB OF SETI I (KV17) IN THE FLORENCE EGYPTIAN MUSEUM. INTEGRATED NON-INVASIVE METHODS FOR DOCUMENTATION, MATERIAL HISTORY AND DIAGNOSTICS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (May 15, 2017): 127–35. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-127-2017.
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The tomb of Seti I (KV17) is a magnificent example of New Kingdom funerary architecture, among the longest tombs in the Valley of the Kings. As part of a collaboration between the Egyptian Museum in Florence, the University of Florence and CNR, a survey project was launched, with non-invasive methods, on the fragments from the Seti I tomb, in Florence, coming from a gate jamb connecting the chamber F to the corridor G, taken by the franco-tuscan expedition in 1829. The primary goal is to achieve the best level of documentation, knowledge of the material history and conservation assessment. Preliminary results allowed to focus some steps of the history of this fragment, from its realization to the present. The digital documentation created an excellent support for the mapping and management of the collected information. Even if still on a preliminary phase, this study shows how the combination of imaging and spectroscopic techniques allowed the characterization of many materials and the mapping of their distribution on the surface. Several original pigments have been identified as well as many anomalies due to subsequent interventions.
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Mandelli, A., C. Gobeil, C. Greco, and C. Rossi. "DIGITAL TWIN AND 3D DOCUMENTATION OF A THEBAN TOMB AT DEIR AL-MEDINA (EGYPT) USING A MULTI-LENSES PHOTOGRAMMETRIC APPROACH." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2021 (June 28, 2021): 591–97. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2021-591-2021.
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Abstract. This paper describes the methodology employed in 2020 to perform the 3D survey of the Tomb TT214 at Deir al-Medina (Egypt). The aim of the archaeological mission was to integrate the evidence collected in the past on this tomb with a fresh survey a detailed study of some of its elements and an evaluation of its needs in terms of conservation. In order to achieve this result, the collapse that blocked the entrance to the burial chamber had to be removed, the courtyard was cleared, and the decorated walls and blocks were inspected and surveyed. Digital imaging was used to document all these phases and portions of the work. The aim of the survey team was to identify the most efficient combination of tools and methods to be used during these logistically complex operations, during which it was necessary to coordinate the work of various specialists and of the workmen, as well as to negotiate with the environmental difficulties and constrains. The survey was conducted at two scales, one for the architecture of the funerary complex and one for minute details such as inscriptions and decorations. Beside the routine process, both sets of data underwent a further level of elaboration, in order to extract and highlight further information. The final result of the survey was a navigable 3D model able to produce different outputs, all designed to support the archaeologists on the field and during the post-fieldwork phase of the elaboration of the results. The elaboration of such an integrated model may be paired to the progressive construction of a Digital Twin, a term born from the manufacturing and industrial realm but that may be successfully exported into the archaeological realm.
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Murillo-Barroso, Mercedes, Manuel Eleazar Costa Caramé, Marta Díaz-Guardamino Uribe, Leonardo García Sanjuán, and Coronada Mora Molina. "A Reappraisal of Iberian Copper Age Goldwork: Craftmanship, Symbolism and Art in a Non-funerary Gold Sheet from Valencina de la Concepción." Cambridge Archaeological Journal 25, no. 3 (May 14, 2015): 565–96. http://dx.doi.org/10.1017/s0959774314001127.
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Taking as a point of departure the in-depth analysis and description of an exceptional discovery, consisting of a large hammered gold sheet decorated with embossed motifs from the well-known Chalcolithic settlement of Valencina de la Concepción (Seville, Spain), this article presents a general appraisal of the social and ideological role of gold in Copper Age Iberia. The information available for this find, including both its context and its inherent characteristics, opens up new perspectives for research into the technology, use, sociology and symbolism of gold during this time period. We describe and analyse this unique item in detail, including the characterization of the raw material used and the manufacturing process (via SEM-BSE and LA-ICP-MS), as well as an extensive reconstruction of the graphic motifs that are represented, by using digital imaging processing techniques (RTI). We compare this find with the data currently available for the (approximately) 100 Chalcolithic golden artefacts (or fragments of artefacts) found in Iberia to date. Finally, we present an appraisal of the social and ideological framework in which gold was used in Copper Age Iberia, discussing its relevance in aspects such as the dynamics of social complexity, worldviews or artistic creations.
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Packert, Cynthia. "From Gujarat to the Globe: ‘Bhakti Visuality’ and Identity in BAPS Svāminārāyaṇ Hinduism." Journal of Hindu Studies 12, no. 2 (August 1, 2019): 192–223. http://dx.doi.org/10.1093/jhs/hiz013.
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Abstract The renovation and 150th anniversary of the Akṣar Derī, an important commemorative shrine at the BAPS Svāminārāyaṇ temple complex in Gondal, western Gujarat, was celebrated in grand fashion in January 2018. This site is profoundly important for BAPS devotees, as it preserves the funerary monument of Akṣarabrahman Guṇātītānanda Svāmī (1784–1867 CE), who is venerated as the first spiritual successor of Bhagvān Svāminārāyaṇ (1781–1830 CE), an influential religious leader who espoused a new form of Vaiṣṇava bhakti in nineteenth-century Gujarat. The Akṣar Derī's 150th anniversary was, however, no ordinary honoring of the renovation of a historical shrine; it is an exceptional landmark, differentiated from other important historical sites as the sacred spot that memorializes BAPS’ origins as a unique Svāminārāyaṇ community with its own particular theology. BAPS is continually creating new content in a wide variety of different visual media—art, architecture, print, film, digital—to educate its devotees about its origins and beliefs, as well as keeping the community abreast of current events. The Akṣar Derī celebration presents an ideal opportunity to analyze what I define as a BAPS-specific ‘bhakti visuality’ that is distinguished by its awe-inspiring aesthetics and sophisticated array of visual tools and techniques used to tell their particular story.
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Radpour, Roxanne, Christian Fischer, and Ioanna Kakoulli. "New Insight into Hellenistic and Roman Cypriot Wall Paintings: An Exploration of Artists’ Materials, Production Technology, and Technical Style." Arts 8, no. 2 (June 24, 2019): 74. http://dx.doi.org/10.3390/arts8020074.
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A recent scientific investigation on Hellenistic and Roman wall paintings of funerary and domestic contexts from Nea (‘New’) Paphos, located in the southwest region of Cyprus, has revealed new information on the paintings’ constituent materials, their production technology and technical style of painting. Nea Paphos, founded in the late 4th century BC, became the capital of the island during the Hellenistic period (294–58 BC) and developed into a thriving economic center that continued through the Roman period (58 BC–330 AD). A systematic, analytical study of ancient Cypriot wall paintings, excavated from the wealthy residences of Nea Paphos and the surrounding necropoleis, combining complementary non-invasive, field-deployable characterization techniques, has expanded the scope of analysis, interpretation and access of these paintings. The results from in situ analyses, combining X-ray fluorescence (XRF) and fiber-optic reflectance spectroscopy (FORS), forensic imaging in reflectance and luminescence, and digital photomicrography, were informative on the raw materials selection, application technique(s) and extent of paintings beyond the visible. Data collected through the integration of these techniques were able to: (1) show an intricate and rich palette of pigments consisting of local and foreign natural minerals and synthetic coloring compounds applied pure or in mixtures, in single or multiple layers; (2) identify and map the spatial distribution of Egyptian blue across the surface of the paintings, revealing the extent of imagery and reconstructing iconography that was no longer visible to the naked eye; and (3) visualize and validate the presence of Egyptian blue to delineate facial contours and flesh tone shading. This innovation and technical characteristic in the manner of painting facial outlines and constructing chiaroscuro provides a new insight into the artistic practices, inferring artists/or workshops’ organization in Cyprus during the Roman period.
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Gherardini, Francesco, Mattia Santachiara, and Francesco Leali. "Enhancing heritage fruition through 3D virtual models and augmented reality: an application to Roman artefacts." Virtual Archaeology Review 10, no. 21 (July 25, 2019): 67. http://dx.doi.org/10.4995/var.2019.11918.
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<p>The spatial characteristics of museum exhibitions may limit visitors’ experience of the artefacts on display. In the case of large artefacts, limited space may affect their whole visualization, or inhibit the visualization of the details farthest from the observer. In other cases, the storage of artefacts in distant sites (museums or archaeological areas) may influence their knowledge process or the possibility for comparative analysis. Moreover, the precarious state of preservation of some artefacts, with damaged or missing parts, makes it difficult to perceive their original appearance. To overcome these limitations, we propose an integrated approach based on 3D virtual models and Augmented Reality (AR) to enhance the fruition of artefacts, improving their visualization, analysis and personal/shared knowledge, also by overcoming space and time constraints. The final AR application is an easily accessible tool for most users from a mobile device, used both inside and outside museums, opening new perspectives for fruition. The framework encourages the use of free and open source software and standard devices, to maximize their dissemination and exploit the potential of such technologies, which is far greater than current use in the cultural heritage field. Selected case studies to test and validate the integrated framework are proposed, dealing with some Roman artefacts found in the area of Modena (Italy). The first is a Roman floor mosaic, found in Savignano sul Panaro (near Modena) in 2011, of which less than half of its original 4.5 x 6.9 m surface is preserved. The others are two Roman funerary lion sculptures: the first is one of two lions flanking the main door of Modena Cathedral, and the second, well-preserved but damaged, is housed in the Museo Lapidario Estense of Modena. Finally, the application was tested by museum experts and visitors both inside and outside the museum, and positively assessed.</p><p><strong>Highlights:</strong></p><ul><li><p>Digital practice is not understood as a prerogative of a small number of people, but as a tool to guarantee and expand artefact fruition, using standard devices and free and open source software.</p></li><li><p>Experimentation of new settings to re-contextualize artefacts and establish possible links among them, offering engaging and customized experiences to improve their accessibility and enjoyment.</p></li><li><p>Promotion of artefact fruition not only in but also outside museums, such as in a classroom or an open and shared space, opening to new approaches in the fruition of cultural heritage.</p></li></ul>
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Fangi, G. "ALEPPO BEFORE AND AFTER THE WAR 2010–2018." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 22, 2019): 449–56. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-449-2019.
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<p><strong>Abstract.</strong> What remains of Cultural Heritage in Syria? And in particular in Aleppo? Aleppo, according to UNESCO, is the oldest city in the world. The first settlements date back to 12,000 years ago, the first evidence of the city to 8,000. The A. visited the city in October 2018 at the invitation of the Syrian Trust for Development. He previously went to Syria for a photographic tour in 2010. It was a unique opportunity to document some noticeable buildings and monuments, later on affected by the war. When the war began in 2012, the A. retrieved the photographs and gave them to his students, who then ran some 28 projects of Cultural Heritage items. They are small monuments or small projects, neither complete not very accurate, but sometimes they are unique for the monuments that have already disappeared. In 2017 the book <i>Reviving Palmyra</i> was published, whose main author is the Finnish archaeologist Minna Silver. The book shows the results of the surveys of some monuments of Palmyra, including the Roman theater, the temple of Bel, the triumphal arch and the funerary tower of Al-Habel. The A. made an exibition of the these projects in Ancona, Italy, and produced a video of the exibition, which was then published online. Reme Sackr saw the video and invited the A. to visit Syria. She is a Syrian woman of the Syrian Trust for Development, a Syrian NGO for reconstruction of Syria. She is responsible for the Living Heritage Program inside the Trust, in practice responsible for the reconstruction and the restoration of the monuments in Syria. So in October 2018 the A. went to Aleppo, Syria, for a second time. The present paper shows some results and comparisons for same monuments before and after the war. The objects of the survey are some parts of the Citadel walls, the entrance tower of the Citadel, the southern tower, one mosque and the minaret of the Citadel mosque. One of the first monuments to be restored will be the minaret of the Great Omoyyad Mosque in Aleppo. Some monuments, the minority, are apparently in good condition, seemingly untouched by the war. Some are badly damaged and unsafe. They must first be made sade and subsequently restored. Finally, other monuments – and these are the majority – no longer exist because they have been destroyed to their very foundations. It seems that the war, besides the population, has particularly targeted monuments, perhaps because they represent the soul and history of a people and a country. For them the problem arises whether to reconstruct or not, and in case of reconstruction with which instruments and with which technique, if there are previous findings. This is precisely the case of the minaret. Here they will try to reconstruct the monument where it was, as it was and with the same materials, with possibly the same blocks in the same position they were in. For this task, however, their identification is necessary. The minaret is the most important monument in Syria, because it is the symbol of the country. It was built in 1092, and its restoration was completed in 2007. A special commission now follows the restoration work. It is composed by public, religious and technical-scientific authorities. They are the same university professors who carried out the restoration of 2007 and now curate the reconstruction. Work began in February 2018. The minaret stones were placed in the square of the mosque. Using a crane they raised the stones one by one, then photographed them from all positions. They then proceeded to the identification stage. A computer program was created in MATHLAB<sup>®</sup> which could carry out the first automatic selection of 6–8 possible candidates. The operator then manually selected the choosen one. Of the 1300 stones of the external face, 40&thinsp;% have already been recognized. The high-resolution photographs of the A. of 2010 will help the identification. It is hoped to reach 70&thinsp;%. Many blocks are no longer usable because they are broken, being limestone and therefore fragile. They no longer have the necessary resistance and will have to be replaced. A museum will be set up for the reconstruction of the minaret and the mosque. It is hoped to complete the work in two years. The surveying technique used by the A. is Spherical Photogrammetry. He published in 2018 <i>The book of Spherical Photogrammetry</i> a collection of related papers and experiences. This technique has been set up by the A. since 2006. It is based on spherical panoramas. These are cartographic representations on planes of spheres, on which the partially overlapping photographs taken from a single shooting point, are projected. Its main feature is the shooting speed. The technique is very much suitable for heritage documentation and the A. hopes to transfer it to the students of the local faculty of architecture. In this last mission, especially for the interiors, the A. made extensive use of Panono, a multi-image camera capable of covering 360°. These results prove undoubtedly that photogrammetry is an essential instrument for the 3D documentation and digital preservation of cultural heritage.</p>
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Liu, Yina. "The Funeral by M. James." Deakin Review of Children's Literature 8, no. 4 (May 16, 2019). http://dx.doi.org/10.20361/dr29433.
Full textAbstract:
James, Matt. The Funeral. Groundwood Books-House of Anansi Press, 2018.
The Funeral, written by Matt James, focuses on a day that Norma goes to her Uncle Frank’s funeral. While this book will appeal to children, it is also good for adults to look at something heavy in life, such as a funeral, through a child’s eye.
In a relaxed tone and cozy painting style, the story starts with Norma finding out that she won’t have to go to school on the day of her uncle’s funeral. She is excited about the day off and the “plan” of the day, playing with her cousin. Throughout the funeral, the story is developed through Norma’s eyes, showing how she experiences the time with her cousin. Before Norma leaves the funeral, she thinks Uncle Frank would have loved his funeral, since she noticed he was smiling right at her in his photo.
Instead of a heavy, didactic teaching of the meaning of death, Matt explores a delicate way to describe a funeral from a child’s perspective. For example:
There was a little flag [which said FUNERAL] on the car that drove them to the church. Norma tried to sound out the word printed on it.“F-U-N,” she said.And then she said it again.
Matt James, a Canadian artist, is an illustrator of many picture books. With this picture book, James debuts as a writer and illustrator. The illustrations of the book are mostly acrylic and ink on masonite. Also, this book is the first time he combined a few digital pieces on the background illustrations. This book would tie in perfectly to a classroom talk about funerals and similar occasions and illustrates what a funeral is like from a child’s perspective.
Highly Recommended: 4 out of 4 starsReviewer: Yina Liu
Yina Liu is a first year PhD student in Language and Literacy, in the department of Elementary Education. Her research interests are digital literacies and children's literature, especially digital picture books. She finished her Master's degree at the University of Saskatchewan and worked in a preschool classroom as an early childhood educator for a year in Saskatchewan.
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Domagala, Jakob, and Shawn Speegle. "A Russian Funeral Film: The Funeral of Anastasia Vial'tseva." SourceLab 2 (January 21, 2021). http://dx.doi.org/10.21900/j.sourcelab.v2.798.
Full textAbstract:
Vol. 2, No. 2 (2020)
This issue of SourceLab presents the 1913 funeral film of Russian singer Anastasia Vial'tseva.
This publication is part of the digital documentary edition series SourceLab, based at the University of Illinois at Urbana-Champaign. Our Editorial Board conducts rigorous peer-review of every edition.
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Nansen, Bjørn, Hannah Gould, Michael Arnold, and Martin Gibbs. "Media, mortality and necro-technologies: Eulogies for dead media." New Media & Society, July 9, 2021, 146144482110279. http://dx.doi.org/10.1177/14614448211027959.
Full textAbstract:
Working at the intersection of death studies and media studies, this article examines what we can learn from the death of media technologies designed for the deceased, what we refer to as necro-technologies. Media deaths illuminate a tension between the promise of persistence and realities of precariousness embodied in all media. This tension is, however, more visibly strained by the mortality of technologies designed to mediate and memorialise the human dead by making explicit the limitations of digital eternity implied by products in the funeral industry. In this article, we historicise and define necro-technologies within broader discussions of media obsolescence and death. Drawing from our funeral industry fieldwork, we then provide four examples of recently deceased necro-technologies that are presented in the form of eulogies. These eulogies offer a stylised but culturally significant format of remembrance to create an historical record of the deceased and their life. These necro-technologies are the funeral attendance robot CARL, the in-coffin sound system CataCombo, the posthumous messaging service DeadSocial and the digital avatar service Virtual Eternity. We consider what is at stake when technologies designed to enliven the human deceased – often in perpetuity – are themselves subject to mortality. We suggest a number of entangled economic, cultural and technical reasons for the failure of necro-technologies within the specific contexts of the death care industry, which may also help to highlight broader forces of mortality affecting all media technologies. These are described as misplaced commercial imaginaries, cultural reticence and material impermanence. In thinking about the deaths of necro-technologies, and their causes, we propose a new form of death, a ‘material death’ that extends beyond biological, social and memorial forms of human death already established to account for the finitude of media materiality and memory.
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Petrović-Šteger, Maja. "Mobile Sepulchre and Interactive Formats of Memorialization: On Funeral and Mourning Practices in Digital Art." Journeys 13, no. 2 (January 1, 2012). http://dx.doi.org/10.3167/jys.2012.130206.
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Mulyanto, Arip, Mukhlisulfatih Latief, Manda Rohandi, and S. Supriyadi. "Preservation and Development Strategies of Gorontalo’s Local Culture through Gorontalo Cultural Digital Repository Application." Mudra Jurnal Seni Budaya 31, no. 3 (May 5, 2017). http://dx.doi.org/10.31091/mudra.v31i3.43.
Full textAbstract:
This study aims to implement a strategy of preservation and development of Gorontalo’s local culture through a web based application that can store and display the digitizing results of Gorontalo’s local culture called “Gorontalo cultural digital repository". The Gorontalo cultural digital repository provides information about the cultures in Gorontalo such as the mores, dances, historic sites and Gorontalo’s cultural artifacts in the form of video, images and text. The method used in this research is applied method withresearch procedures by: 1) Exploration, is to identify and analyze the data of local Gorontalo’s culture that covers Gorontalo’s mores, dances historic sites and Gorontalo’s cultural artifacts. 2) The development of Gorontalo cultural digital collection, which digitize the identification and analysis result of Gorontalo’s local culture. 3) Gorontalo Cultural Digital Repository application development. From the result of the research found: 1) Exploration the mores of Gorontalo consist of four important aspects, namely customarywelcoming guests, traditional coronation, marriage customs and funeral customs. There are more or less 20 historic sites located in Gorontalo. There are four dances that are usually performed in the customary celebration in Gorontalo.
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Cardoso, Érika Arantes de Oliveira, Breno César de Almeida da Silva, Jorge Henrique dos Santos, Lucas dos Santos Lotério, Aline Guerrieri Accoroni, and Manoel Antônio dos Santos. "The effect of suppressing funeral rituals during the COVID-19 pandemic on bereaved families." Revista Latino-Americana de Enfermagem 28 (2020). http://dx.doi.org/10.1590/1518-8345.4519.3361.
Full textAbstract:
Objective amidst the greatest health crisis in history triggered by COVID-19, this documental study was intended to understand the meanings individuals who have lost loved ones in this context assign to the phenomenon of suppressed funeral rituals. Method based on the theory of grief, the corpus of this study was composed of documents published in digital media containing personal writings and reports of experiences freely and easily available to the public. Two researchers with expertise in the field used inductive thematic analysis to interpret data. Results the experiences shared in the reports reflect the suffering experienced by the sudden death of a significant person, which is amplified by the absence or impediment to performing familial farewell rituals. The suppression or abbreviation of funeral rituals is a traumatic experience because family members are prevented from fulfilling their last homage to the loved one who has suddenly passed away, causing feelings of disbelief and indignation. Conclusion alternatives and new ways to celebrate passage rituals in emergencies of strong social commotion such as a pandemic are needed to provide support and comfort to family members, friends, and relatives. These rituals help survivors to overcome the critical moment, decreasing the risk of developing complicated grief.
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Nansen, Bjorn, Larissa Hjorth, Stacey Pitsillides, and Hannah Gould. "THE AFTERLIVES OF MEMORIAL MATERIALS: DATA, HOAX, BOT." AoIR Selected Papers of Internet Research 2019 (October 31, 2019). http://dx.doi.org/10.5210/spir.v2019i0.10948.
Full textAbstract:
The study of death online has often intersected with questions of trust, though such questions have evolved over time to not only include relations of trust between individuals and within online communities, but also issues of trust emerging through entanglements and interactions with the afterlives of memorial materials. Papers in this panel attend to the growing significance of the afterlives of digital data, the circulation of fake deaths, the care attached to memorial bots, and the intersection of robots and funerals.
Over the last twenty years the study of death online developed into a diverse field of enquiry. Early literature addressed the emergence of webpages created as online memorials and focused on their function to commemorate individuals by extending memorial artefacts from physical to digital spaces for the bereaved to gather (De Vries and Rutherford, 2004; Roberts, 2004; Roberts and Vidal, 2000; Veale, 2004). The emergence of platforms for social networking in the mid-2000s broadened the scope of research to include increasingly knotted questions around the ethics, politics and economics of death online. Scholars began investigating issues like the performance of public mourning, our obligations to and management of the digital remains of the deceased, the affordances of platforms for sharing or trolling the dead, the extraction of value from the data of the deceased, and the ontology of entities that digitally persist (e.g. Brubaker and Callison-Burch, 2016; Gibbs et al., 2015; Karppi, 2013; Marwick and Ellison, 2012; Phillips, 2011; Stokes, 2012).
Scaffolding this scholarship are a number of research networks, including the Death Online Research Network and the DeathTech Research Network, who encourage international collaboration and conversation around the study of death and digital media, including supporting this AoIR panel.
This panel contributes to the growing field of research on death and digital media, and in particular poses challenges to focus on the commemoration of humans to encompass broader issues around the data and materiality of digital death. Digital residues of the deceased persist within and circulate through online spaces, enrolling users into new configurations of posthumous dependence on platforms, whilst at the same time digital afterlives now intersect with new technologies to create emergent forms of agency such as chatbots and robots that extend beyond the human, demanding to be considered within the sphere of digital memorialisation. Questions of trust emerge in this panel through various kinds of relationality formed with and through digital remains. These extend from relations of trust in the digital legacies now archived within platform architectures and how we might curate conversations differently around our personal data; to the breaking of trust in the internet when creating or sharing a hoax death; to the trust involved in making and caring for a posthumous bot; to the trust granted to robots to perform funerary rites.
It is anticipated that this panel will not only appeal to scholars interested in the area of death and digital media, but also engage with broader scholarly communities in which questions of death now arise in larger debates around data, materiality, and governance on and of the internet.
References
Brubaker, J. R. and Callison-Burch, V. (2016) Legacy Contact: Designing and Implementing Post-mortem Stewardship at Facebook. Paper presented at CHI Workshop on Human Factors in Computer Systems, San Jose California.
de Vries, B. and Rutherford, J. (2004) Memorializing Loved Ones on the World Wide Web. Omega: Journal of Death and Dying, 49(1), 5-26.
Gibbs, M., Meese, J., Arnold, M., Nansen, B., and Carter, M. (2015) #Funeral and Instagram: Death, Social Media and Platform Vernacular. Information Communication and Society, 18(3): 255-268.
Karppi, T. (2013) Death proof: on the biopolitics and noopolitics of memorializing dead Facebook users. Culture Machine, 14, 1-20.
Marwick, A. and Ellison, N. (2012) “There Isn’t Wifi in Heaven!” Negotiating Visibility on Facebook Memorial Pages. Journal of Broadcasting and Electronic Media 56(3), 378–400.
Phillips, W. (2011) LOLing at Tragedy: Facebook Trolls, Memorial Pages and Resistance to Grief Online. First Monday 16(12). Retrieved from http://firstmonday.org
Roberts, P. (2004) The Living and the Dead: Community in the Virtual Cemetery. Omega: Journal of Death and Dying, 49(1), 57-76.
Stokes, P. (2012) Ghosts in the Machine: Do the Dead Live on in Facebook? Philosophy and Technology, 25(3), 363-379.
Veale, K. (2004) Online Memorialisation: The Web as a Collective Memorial Landscape For Remembering The Dead. The Fibreculture Journal, 3. Retrieved from http://three.fibreculturejournal.org
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Saputri, Risa Rananda, Prahastiwi Utari, and Sri Hastjarjo. "The Reception Analysis of Selfie Upload Messages at the Funeral on Instagram Social Media, (Case Study of @katarinakartikapanca Account)." International Journal of Scientific Research in Computer Science, Engineering and Information Technology, January 8, 2020, 33–43. http://dx.doi.org/10.32628/cseit20614.
Full textAbstract:
The use of Instagram social media for various purposes is possible. One of the possibilities was proved in the @katarinakartikapanca account that used it to upload a selfie with his father’s coffin as the background. Subsequently, the upload stimulates various comments from other account users. The objective of this study was to trace the motives behind the awareness to upload the selfie. Moreover, it also investigated the reception of the message/upload according to other account users. This study was a qualitative analysis with the guidelines of Stuart Hall’s reception theory and Abraham Maslow’s hierarchy theory. The results showed that the motive for uploading the selfie according to the informant of the account owner of @katarinakartikapanca was for <em>digital mourning media</em> and for <em>remembering death media</em>. For the reception dimension for the @purihardjanti account, the decoding position that occurred in the reception process of the upload message above was <em>dominant hegemonic</em>. Whereas for the @suzi_suzana87 account, the decoding position that occurred in the reception process of the upload message above was <em>negotiation</em>.