>Ian Dawson
BOOK, Diffracting Digital Images, Archaeology, Art Practice and Cultural Heritage
Edited By Ian Dawson, Andrew Meirion Jones, Louisa Minkin, Paul Reilly
ISBN 9780367486556
Published December 28, 2021 by Routledge
224 Pages 70 B/W Illustrations
BOOK, Diffracting Digital Images, Archaeology, Art Practice and Cultural Heritage
Edited By Ian Dawson, Andrew Meirion Jones, Louisa Minkin, Paul Reilly
ISBN 9780367486556
Published December 28, 2021 by Routledge
224 Pages 70 B/W Illustrations
Contents:
Chapter 1 What is a diffractive digital image?
Ian Dawson, Andrew Meirion Jones, Louisa Minkin and Paul Reilly
Chapter 2 Interstitial Images
Ian Dawson and Louisa Minkin
Chapter 3 Engaging audiences with digital Blackfoot objects online and in the art gallery
Christine Clark, Danielle Heavy Head, Josephine Mills and Melissa Shouting
Chapter 4 Structure from motion: the movement and digital modelling of an artefact from the Blackfoot collections, British Museum
Louisa Minkin, Thomas Allison and Andrew Meirion Jones
Chapter 5 The Paranoiac-Critical Method of Reflectance Transformation Imaging
Bernd Behr
Chapter 6 The work of the miniature in the age of digital reproduction
Stuart Jeffrey
Chapter 7 Temporal Ripples in Art/Archaeology Images
Simon Callery, Ian Dawson and Paul Reilly
Chapter 8 The Inhabited Frame: Examining the Archaeological Image in the Era of Interactive Media
Nicole Smith, Gareth Beale and Rachel Opitz
Chapter 9 Digitalising ephemerality: Preserving and utilising the transient trace in Athens urban landscape through digital approaches in the field of fine art
Panagiotis Ferentinos
Chapter 10 Four-dimensional and multi-dimensional images: diffracting archaeological images and computational imagings
Andrew Meirion Jones
Chapter 11 Commentary
Marcus Jack Dostie
Chapter 12 Making the Image a Process – On Commitment and Care in Entangled Worlds
Mihaela Brebenel
Digital imaging techniques have been rapidly adopted within archaeology and cultural heritage practice for the accurate documentation of cultural artefacts. But what is a digital image, and how does it relate to digital photography? The authors of this book take a critical look at the practice and techniques of digital imaging from the stance of digital archaeologists, cultural heritage practitioners and digital artists.
Borrowing from the feminist scholar Karen Barad, the authors ask what happens when we diffract the formal techniques of archaeological digital imaging through a different set of disciplinary concerns and practices. Diffracting exposes the differences between archaeologists, heritage practitioners and artists, and foregrounds how their differing practices and approaches enrich and inform each other. How might the digital imaging techniques used by archaeologists be adopted by digital artists, and what are the potentials associated with this adoption? Under the gaze of fine artists, what happens to the fidelity of the digital images made by archaeologists, and what new questions do we ask of the digital image? How can the critical approaches and practices of fine artists inform the future practice of digital imaging in archaeology and cultural heritage?
Diffracting Digital Images will be of interest to students and scholars in archaeology, cultural heritage studies, anthropology, fine art, digital humanities, and media theory.