Davide Tanasi’s Profile

This course delves into best practices for digital curation of data for museums, libraries, archives and special collections. Through a survey of conceptual models and strategies for design, creation, standardization, management, preservation and reuse of data combined with hands on activities with database and web design, the course aims to transfer theoretical premises and a digital curation skillset to digital humanities students.

This course delves into best practices for digital curation of data for museums, libraries, archives and special collections. Through a survey of conceptual models and strategies for design, creation, standardization, management, preservation and reuse of data combined with hands on activities with database and web design, the course aims to transfer theoretical premises and a digital curation skillset to digital humanities students.

This course is an in-depth survey of all the digital approaches to the study, interpretation and communication of Greek and Roman archaeology, ranging from 3D Digital Imaging to Computer Vision, from Augmented Reality to Digital Story Telling. It also includes tutorials of the state-of-the art software and hardware for the productions of digital contents and a hands-on experience in virtual archaeology. This course provides a hands-on, project based introduction to digital technologies as they are used in the study of the ancient Greek and Roman civilization. Current issues surrounding the use of digital technologies in archaeology will be discussed throughout the course.

This course is an in-depth survey of all the digital approaches to the study, interpretation and communication of Greek and Roman archaeology, ranging from 3D Digital Imaging to Computer Vision, from Augmented Reality to Digital Story Telling. It also includes tutorials of the state-of-the art software and hardware for the productions of digital contents and a hands-on experience in virtual archaeology. This course provides a hands-on, project based introduction to digital technologies as they are used in the study of the ancient Greek and Roman civilization. Current issues surrounding the use of digital technologies in archaeology will be discussed throughout the course.

This course aims to provide an overview and practical understanding of how digital technologies can be employed for the study and dissemination of archaeological data in both academic and public contexts. Students will be introduced to key digital methodologies and their applications, and will gain some basic practical skills in techniques that are changing the way we interact with archaeological source materials. They will also develop their knowledge of how to reflect critically on digital methods, helping them to assess the relevance and potential of new techniques they encounter in future. Students will tackle from the different angles the implications of digitizing the practice of archaeology, and interacting with the past digitally. What are the implications for understanding the past and making the archaeological heritage accessible beyond archaeology, as it becomes engaged with, challenged, and re-imagined online and within social media and a global digital community? Although this is not a how-to course, and digital novices as well as seasoned veterans should easily manage the expectations for this course, four practical sections held at the Institute for Digital Exploration (IDEx) will be dedicated to 3D scanning and digital photogrammetry of cultural heritage artifacts.

This course aims to provide an overview and practical understanding of how digital technologies can be employed for the study and dissemination of archaeological data in both academic and public contexts. Students will be introduced to key digital methodologies and their applications, and will gain some basic practical skills in techniques that are changing the way we interact with archaeological source materials. They will also develop their knowledge of how to reflect critically on digital methods, helping them to assess the relevance and potential of new techniques they encounter in future. Students will tackle from the different angles the implications of digitizing the practice of archaeology, and interacting with the past digitally. What are the implications for understanding the past and making the archaeological heritage accessible beyond archaeology, as it becomes engaged with, challenged, and re-imagined online and within social media and a global digital community? Although this is not a how-to course, and digital novices as well as seasoned veterans should easily manage the expectations for this course, four practical sections held at the Institute for Digital Exploration (IDEx) will be dedicated to 3D scanning and digital photogrammetry of cultural heritage artifacts.

Archaeology, the study of the past through its material remains, involves rather a lot of modern technology. New imaging techniques, 3D scanning and printing, and virtual reality systems have allowed objects and sites to be preserved in new ways, and enable a much broader audience to interact with ancient civilizations; however, while most of these new tools have brought positive changes to the field, archaeologists must always question the reason they have chosen certain methods. At the surface, 3D reconstructions let us explore how people arranged and experienced buildings and cities, and 3D models made through structure from motion are used for rapid and detailed recording during excavations. But are the flashy 3D imaging techniques truly answering research questions? What are the possibilities and issues when a material, tangible past can be interacted with and “handled” intangibly and online? How does this digital world change methodologies, analyses, and even how we interpret the archaeological heritage? What are the implications for understanding the past and making the archaeological heritage accessible beyond archaeology, as it becomes engaged with, challenged, and re-imagined online and within social media and a global digital community? This course will explore the methodological and conceptual implications of digitizing the practice of archaeology, and interacting with the past digitally. In it students will be encouraged to think critically about the design of archaeological projects and the integration of digital tools.

Archaeology, the study of the past through its material remains, involves rather a lot of modern technology. New imaging techniques, 3D scanning and printing, and virtual reality systems have allowed objects and sites to be preserved in new ways, and enable a much broader audience to interact with ancient civilizations; however, while most of these new tools have brought positive changes to the field, archaeologists must always question the reason they have chosen certain methods. At the surface, 3D reconstructions let us explore how people arranged and experienced buildings and cities, and 3D models made through structure from motion are used for rapid and detailed recording during excavations. But are the flashy 3D imaging techniques truly answering research questions? What are the possibilities and issues when a material, tangible past can be interacted with and “handled” intangibly and online? How does this digital world change methodologies, analyses, and even how we interpret the archaeological heritage? What are the implications for understanding the past and making the archaeological heritage accessible beyond archaeology, as it becomes engaged with, challenged, and re-imagined online and within social media and a global digital community? This course will explore the methodological and conceptual implications of digitizing the practice of archaeology, and interacting with the past digitally. In it students will be encouraged to think critically about the design of archaeological projects and the integration of digital tools.

The influence of digital media on the cultural heritage sector has become pervasive and profound. Today museums are reliant on new technologies to manage their collections. They collect digital as well as materials objects. New media is embedded within their exhibition spaces. And their activity online is as important as their physical presence on site. From management of digital archives to virtual re-unification of dismembered collections, from on-site augmented reality visits to virtual reality remote experiences, from digital storytelling to participatory museum experiences, museums have become the ultimate development environment for digital humanities. This course critically analyzes a wide range of digital applications on public history and archaeology focusing on the impact 3D visualization has got on historians, curators, museum educators, docents and local and global public. This course provides a hands-on, project based study of best practices in virtualization of museum collections, webification of museum communication programs and development of on-site and online digital sharing platforms.

The influence of digital media on the cultural heritage sector has become pervasive and profound. Today museums are reliant on new technologies to manage their collections. They collect digital as well as materials objects. New media is embedded within their exhibition spaces. And their activity online is as important as their physical presence on site. From management of digital archives to virtual re-unification of dismembered collections, from on-site augmented reality visits to virtual reality remote experiences, from digital storytelling to participatory museum experiences, museums have become the ultimate development environment for digital humanities. This course critically analyzes a wide range of digital applications on public history and archaeology focusing on the impact 3D visualization has got on historians, curators, museum educators, docents and local and global public. This course provides a hands-on, project based study of best practices in virtualization of museum collections, webification of museum communication programs and development of on-site and online digital sharing platforms.