Maecenas: Images of Ancient Greece and Rome 408,330 visitors before 21 March, 2002, visitors since then Images are copyrighted, but may be used for non-commercial purposes. Click here to see the images If the search engine is out of service, you can use back-up search engine. Also, the back-up search engine may index recent additions of images sooner than the main search engine does. If you find this website useful, you can send me a picture postcard of your town or school.My mailing address is Leo C. About this site Awards received by Maecenas UB College of Arts and Sciences Some software I've written for Latin teachers Historia Antigua When Images Work Faster than Words The Integration of Content-Based Image Retrieval with the Northumbria Watermark Archive | Vassilev Vassil Metadata issues: In any archive it is important that the appropriate standards beused (dealt with in greater depth later in this paper). In addition it is essential thatan early decision is made with regard to exactly how much information/metadata isto be input to each record in the archive and whether this is feasible within thetimescale available for the project. Hardware requirements: Realistic specifications must be sought, to avoid constantupgrades. Buying new machines may be more cost effective than upgrading oldermodels. It is important to consider that manipulating and storing digital imagestakes up a large amount of disc space, processor power, and memory(RAM).As arough guide,most images require 2 or 3 times their uncompressed file size in RAM.Additionally, a large good-quality monitor for image work can be extremely useful,but expensive, and additional items such as PCI (Peripheral ComponentInterconnect) or AGP (Accelerated Graphics Port) graphics memory cards may benecessary.
Diotima: Women & Gender in the Ancient World Call for Collaborators to The On-line Companion to The Worlds of Roman Women The On-Line Companion to the Focus Reader, The Worlds of Roman Women, expands the book's wide representation of Latin texts by and about women dating from the earliest periods through the fourth century CE. The medium of a website, moreover, offers the opportunity to integrate visuals to texts, thus enabling users to make connections between language and material culture. The Companion has two major parts. The Worlds section includes Class, Religion, Childhood, Learning, Marriage, Family, Body, State, Work, and Flirtation. Each World opens to reveal a thematic image of women in this world, a brief essay on this World, a list of on-line texts and hyperlinked images. The Instructional section contains: a Guide to Using the Site; an Annotated Bibliography; Activities for Classroom Use; Syllabi and Lesson Plans; and Credits and Contributors.
Early Modern Online Bibliography Herodotus Timemap Book 1, Ch. 1 This is the display of the inquiry of Herodotus of Halicarnassus, so that things done by man not be forgotten in time, and that great and marvelous deeds, some displayed by the Hellenes, some by the barbarians, not lose their glory, including among others what was the cause of their waging war on each other.The Persian learned men say that the Phoenicians were the cause of the dispute. These (they say) came to our seas from the sea which is called Red, and having settled in the country which they still occupy, at once began to make long voyages. Among other places to which they carried Egyptian and Assyrian merchandise, they came to Argos,which was at that time preeminent in every way among the people of what is now called Hellas.
'No DH, No Interview' - Manage Your Career By William Pannapacker I tweeted that proposition, "No DH, no interview," during the Digital Humanities Summer Institute, at the University of Victoria, in June, and I was surprised by the response, which I'll get to shortly. It was my second visit to the summer institute; the last time was in 2008, when I described it as "Summer Camp for Digital Humanists." Mainly it's a chance for graduate students and faculty members to come together for a week of training, project-building, and socializing. Two things struck me as different after four years away: The tame rabbits that used to graze all over the Victoria campus are gone ("vacuumed up and shipped to Texas," I was told). And the number of participants has more than tripled: from 125 to 423, with even more expected next year. I asked Ray Siemens, director of the Digital Humanities Summer Institute since its creation, in 2001 (when you could fit the whole event into an ordinary classroom), what he thought was driving the surge in demand.
DHQ: Digital Humanities Quarterly: Digital Geography and Classics Changing the Center of Gravity: Transforming Classical Studies Through Cyberinfrastructure2009Volume 3 Number 1 Abstract The authors open by imagining one possible use of digital geographic techniques in the context of humanities research in 2017. They then outline the background to this vision, from early engagements in web-based mapping for the Classics to recent, fast-paced developments in web-based, collaborative geography. The article concludes with a description of their own Pleiades Project ( which gives scholars, students and enthusiasts worldwide the opportunity to use, create and share historical geographic information about the Greek and Roman World in digital form. As I settle into my chair, a second cup of morning coffee in my hand, an expansive view of the eastern Mediterranean fades in to cover the blank wall in front of me. The view pivots and zooms to frame these two symbol groups. I can't resist making some quick explorations. Notes The U.S.
Digital Humanities Spotlight: 7 Important Digitization Projects by Maria Popova From Darwin’s marginalia to Voltaire’s correspondence, or what Dalí’s controversial World’s Fair pavilion has to do with digital myopia. Despite our remarkable technological progress in the past century and the growth of digital culture in the past decade, a large portion of humanity’s richest cultural heritage remains buried in analog archives. Bridging the disconnect is a fledgling discipline known as the Digital Humanities, bringing online historical materials and using technologies like infrared scans, geolocation mapping, and optical character recognition to enrich these resources with related information or make entirely new discoveries about them. As Europe’s digital libraries open up their APIs, techno-dystopian pundits lament that these efforts diminish “the mystery of history,” but such views are myopic and plagued by unnecessary nostalgia for a time when knowledge was confined to the privileged cultural elite. Donating = Loving Share on Tumblr
Centro di Ricerca Interdipartimentale Multimediale sul Teatro Antico | 2012 Managing 100 Digital Humanities Projects: Digital Scholarship & Archiving in King’s Digital Lab James Smithies, King's College London; Carina Westling, King's College London; Anna-Maria Sichani, King's College London; Pam Mellen, King's College London; Arianna Ciula, King's College London Modelling Medieval Hands: Practical OCR for Caroline Minuscule Brandon W. Hawk, Rhode Island College; Antonia Karaisl, Rescribe Ltd; Nick White, Rescribe Ltd Towards 3D Scholarly Editions: The Battle of Mount Street Bridge Costas Papadopoulos, Maastricht University; Susan Schreibman, Maastricht University Music Scholarship Online (MuSO): A Research Environment for a More Democratic Digital Musicology Timothy C. DH2018: A Space to Build Bridges Molly Nebiolo, Northeastern University; Gregory J. Velvet Evolution: A Review of Lev Manovich's Software Takes Command (Bloomsbury Academic, 2013) Alan Bilansky, University of Illinois Curating Crowds: A Review of Crowdsourcing Our Cultural Heritage (Ashgate, 2014)
GRIMM Announcements and messages - MARC 2012 Conference A beginning set of questions for this conference arises from the very projects all of the conference participants' work as individuals (and as individual teams) represent. A person only needs to quickly peruse these projects' titles and descriptions to notice an overarching interest in space, whether that interest is registered through the use of a spatial metaphor or in their objects of study -- or both. The Digital Mappaemundi project, Mapping Gothic France project, and Architectures of the Book project are striking examples, but I wager every presenter's work is informed by a sense of the space of the digital in some way. This interest in space is probably a characteristic of the digital humanities in general, but is there something about the Middle Ages and Renaissance (or early modern period, if you prefer!) All of the above questions had to do with space; the following are more general and varied: On the practical, nitty-gritty side of things, - How are projects being funded?
Mitologia classica greca e romana