1st Edition
Diffracting Digital Images Archaeology, Art Practice and Cultural Heritage
List of Figures
List of Contributors
Foreword and Acknowledgements
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
Glossary
Index
Biography
Ian Dawson has exhibited worldwide and lectures at Winchester School of Art. His background in sculpture (Making Contemporary Sculpture, Crowood Press, 2012) has led to research focusing on the intersection between 3D additive processes and digital imaging technologies. He has recently collaborated with the Compound 13 Lab to explore 3D printing and plastic recycling in Dharavi, Mumbai, India (2020).
Andrew Meirion Jones is Professor of Archaeology, Department of Archaeology and Classics, Stockholm University, Sweden. His research interests include the archaeology of Stone Age Europe, art and material culture, and digital imaging. He is currently working on the Concepts Have Teeth project with Ian Dawson and Louisa Minkin.
Louisa Minkin is Reader in Visual Art Practices, University of the Arts, London; and Course Leader for MA Fine Art at Central Saint Martins. She is Principal Investigator on the AHRC networking project Concepts Have Teeth and Teeth that Bite through Time: digital imaging and Blackfoot material culture in UK museums.
Paul Reilly is Senior Research Fellow of Digital Archaeology, Department of Archaeology, University of Southampton, UK. His research interests include creative digital archaeology and art/archaeology. His most recent research explores the theoretical implications of the growing intersection of physical and digital (or phygital), practices for art, archaeology, and cultural heritage.
