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  • Digital Humanities and Cultural Heritage
  • 2017-2021
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

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    DI-fusion
    Article . 2019 . Peer-reviewed
    Data sources: DI-fusion
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
    License: Elsevier TDM
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DI-fusionarrow_drop_down
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      DI-fusion
      Article . 2019 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Archaeological Science Reports
      Article . 2019 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Bartette, Titien; Rosso, Emmanuelle;

    International audience; The Augustan Theatre of the Roman city of Arausio (Orange, France) is the only one in the Roman West to have preserved its entire stage building; however, it is now completely stripped of the rich marble decoration that originally adorned it. While thousands of fragments of this decoration have survived, it is paradoxically difficult to propose a global restitution, due to the conservation conditions, the presence of ancient restorations and the extreme fragmentation of the remains. As a step of the new researches on the theatre undertaken in 2000, the use of digital imaging to study the figurative set has made it possible to overcome some of these obstacles: the digitisation and gathering of fragments of certain friezes in the same virtual space thanks to the development of a dedicated software tool has considerably facilitated observations, comparisons and restitution proposals. In a second step, the integration of these friezes into the orders of the scaenae fronscould be considered. Whether based on technical criteria (tool traces, fixing mortices, etc.), iconographic or stylistic criteria (determination of characteristic rhythms, volumetric comparisons, restoration of figurative sequences, etc.), the application of these technologies has not only provided an unparalleled visualization tool to date, but also allowed the multiplication of restitution hypotheses and their validation.; Le théâtre augustéen d’Orange est le seul dans l’Occident romain à avoir conservé l’intégralité de son bâtiment de scène ; il est cependant aujourd’hui entièrement dépouillé du riche décor de marbre qui le parait à l’origine. Alors que des milliers de fragments de cette parure nous sont parvenus, il est paradoxalement difficile d’en proposer une restitution complète, du fait des conditions de conservation, de la présence de restaurations anciennes et de l’état de fragmentation extrême des vestiges. Dans la continuité de la nouvelle étude du théâtre entreprise en 2000, le recours à l’imagerie numérique pour l’étude du décor figuré a permis de dépasser une partie de ces obstacles : la numérisation et la réunion des fragments de certaines frises dans un même espace virtuel grâce à la mise au point d’un outil logiciel dédié a facilité considérablement observations, comparaisons, rapprochements et propositions de restitution. Dans un second temps, l’intégration de ces frises aux ordres du mur de scène a pu être envisagée. Qu’elle se soit fondée sur des critères techniques (relevé des traces d’outil, des mortaises de fixation, etc.), iconographiques ou stylistiques (détermination de rythmes et d’alternances caractéristiques, comparaisons volumétriques, restaurations de séquences figuratives, etc.), l’application de ces technologies aura non seulement fourni un outil de visualisation sans équivalent jusqu’à présent, mais aussi permis la multiplication des hypothèses de restitution et leur validation sans avoir à manipuler ou à déplacer les fragments.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ OpenEdition; In Situ...arrow_drop_down
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    Article . 2019
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      DOAJ
      Article . 2019
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    Authors: Pioffet, Hélène; Ard, Vincent;

    The British Neolithic transition, occurring around 4000 BC, at least one millennium after the continental part of Northwest Europe, is still subject to important debate these days. Various studies suggest that the Neolithic start involved farming immigrants from various parts of the Continent. However, ceramics of the Early Neolithic of Britain became increasingly distinct from their Continental roots, particularly in the Southwest and Southeast of England. We recently completed two important projects, one on Early Neolithic British and Irish pottery and the other on Peterborough Ware, integrating a new way of considering these early productions through a technological approach and the observation of various steps of the chaîne opératoire. This paper is the opportunity to present preliminary results which shed a new light on the evolution of pottery wares during the fourth millennium BC in Southern Britain. It specifically highlights strong connections between Early Neolithic and Middle Neolithic pottery, in terms of style, but above in terms of manufacturing techniques.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ HAL-Rennes 1; Mémoir...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Archeologické Rozhledy
    Article . 2017 . Peer-reviewed
    License: CC BY
    Data sources: Crossref
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Dumons, Bruno;

    En choisissant de mettre à l’honneur des citoyens modèles, notamment grâce à la technique des décorations, la Troisième République a recours à une pédagogie par l’exemple pour installer durablement une culture méritocratique dans la société française. Pour cela, elle invente de nouvelles médailles tout en s’appropriant celles qui avaient été créées sous les régimes précédents comme la plus prestigieuse d’entre elles : la Légion d’Honneur (1802). Si l’historiographie des usages symboliques de la République a été rendue solide avec les travaux de Maurice Agulhon sur la Provence, moins connues sont ces « élites de l’honneur » dont les archives publiques ont conservé les traces. En explorant le célèbre « Var rouge », il nous a été permis de cerner le profil de ces élites méditerranéennes que l’État républicain a souhaité honorer entre 1870 et 1940. Parmi celles-ci, se distingue la catégorie des maires, en particulier ces « bons maires » qui œuvrent pour la « républicanisation » de la société. Ce sont quelques-unes de ces personnalités qui seront présentées dans ce chapitre. In designating model citizens through processes like decorations, the French Third Republic set examples to establish a culture of meritocracy in French society. It invented new medals and appropriated existing ones created by former regimes, including the most prestigious of all: the Légion d’Honneur (1802).Although the historiography of the Republic’s symbolic practices has been augmented by Maurice Agulhon’s works on Provence, this “elite of honour” whose trace remained in public archives is not well known. We explored the “Var rouge” (the predominantly left-wing Var département) to study the profiles of this Mediterranean elite which was honoured by the Republican state between 1870 and 1940. These include the category of mayors, in particular the “bons maires” who contributed to the “republicanisation” of society. This chapter presents a few of these personalities.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ OpenEditionarrow_drop_down
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    OpenEdition
    Article . 2017
    Data sources: OpenEdition
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    Cahiers de la Méditerranée
    Article . 2017 . Peer-reviewed
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      OpenEdition
      Article . 2017
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      Cahiers de la Méditerranée
      Article . 2017 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Durocher, Maxime;

    1370–1410 yılları arasında Dazya’da inşa edilen Lulu bin Abdullah ve Tokat’ta inşa edilen Horozoğlu Ahmed Bey dergahlarının bazı bölümleri, göze çarpan benzerliklere sahip zarif ustuka süslemelerle bezelidir. Bu derlemede, Orta Çağ Anadolusu’nda, günümüzde bile çalışmalarda hak ettiği yeri bulamayan ustuka üretiminin yanı sıra Eretna Beyliği topraklarında, Osmanlı hakimiyetiyle birlikte girilen geçiş dönemi dergah mimarisinde tek tipleşme ele alınmıştır. Orta ve Doğu Karadeniz bölgelerinden bu iki örnek olay incelemesine odaklanan makale, ustuka imalatının köklerinin yerel geleneklere dayandığını savunmaktadır. Buna ek olarak, söz konusu süslemelere Osmanlı’nın ilk yıllarında inşa edilen dergahlarda da rastlanması, bölgesel ölçekte sanatsal etkileşimler ve bilgi alışverişi konularını açıklığa kavuşturarak Orta Anadolu’nun Orta Çağı’nı Osmanlı İmparatorluğu’nun doğuş döneminden keskin bir çizgiyle ayıran tarihi sınırı ortadan kaldırmaktadır. Built between the 1370s and the 1410s, the dervish lodges of Lulu ibn ʿAbdallah in Tazya and of Horozoğlu Ahmed Bey in Tokat are partially ornamented with refined stucco decorations that have remarkable similarities. This corpus illustrates the production of stucco in medieval Anatolia, a material still understudied, as well as the progressive standardization of the architecture of dervish lodges during a transitional period that witnessed the emergence of the Ottomans in the former Eretnid realm. Focusing on these two case studies from the Inner Pontos region, this paper argues that such production is rooted at the local scale. Moreover, the study of such ornamentation also present in early Ottoman dervish lodges sheds new light on the artistic exchanges and circulations at a regional scale, deconstructing the historiographic border isolating central Anatolia from the emerging Ottoman Empire.

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    Solute decoration at grain boundaries (GB) leads to a number of phenomenon such as changes in interface structure, mobility, cohesion etc. Recent experimental investigations on interfacial segregation in steels are based on microstructural characterisation using two correlative methodologies, namely, Transmission Electron Microscopy-Atom Probe Tomography (APT) and Electron Backscatter Diffraction-APT. Considering the growing interest in this avenue, the present review is aimed at addressing the common adsorption isotherms used for quantifying interfacial segregation and providing an overview of the present state of experimental research in the area of GB segregation in steels. The areas where an understanding of GB segregation may be utilised have also been highlighted with a focus on the experimental challenges associated with understanding GB segregation in steels.

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    https://doi.org/10.31224/2891...
    Preprint . 2023
    License: CC BY
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    arXiv.org e-Print Archive
    Other literature type . Preprint . 2022
    https://doi.org/10.48550/arxiv...
    Article . 2022
    License: CC BY SA
    Data sources: Datacite
    SSRN Electronic Journal
    Article . 2021 . Peer-reviewed
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      https://doi.org/10.31224/2891...
      Preprint . 2023
      License: CC BY
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      arXiv.org e-Print Archive
      Other literature type . Preprint . 2022
      https://doi.org/10.48550/arxiv...
      Article . 2022
      License: CC BY SA
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      SSRN Electronic Journal
      Article . 2021 . Peer-reviewed
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    Authors: Ludovic Le Saux;

    A few days before the opening of the exhibition on Edward Burne-Jones, Tate Britain released a tantalising trailer for this unique event, as no exhibition devoted to the Victorian artist had been held since 1998 – in his hometown, Birmingham – and for over forty years in London. Featuring three mesmerising tableaux vivants of pictures by Burne-Jones (Laus Veneris, Love among the Ruins, and The Rose Bower), the trailer highlights the approach adopted by Chief Curator Alison Smith, and Assistan...

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    DOAJ
    Article . 2019
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    Miranda: Revue Pluridisciplinaire du Monde Anglophone
    Article . 2019 . Peer-reviewed
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      Miranda: Revue Pluridisciplinaire du Monde Anglophone
      Article . 2019 . Peer-reviewed
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    Authors: Christian, Degrigny; Piqué, Francesca;

    International audience; The aim of this study was to examine and document the wall paintings in theChâteau de Germolles. Situated in Burgundy, France, Germolles is the best preservedresidence of the Dukes of Burgundy and was listed as a monument ofnational importance in 1989.The medieval wall decoration of the Château de Germolles was rediscoveredunder the nineteenth-century plasters during World War II. Medieval accounts ofthe château provide a detailed list of the materials acquired to make the muraldecoration, but this list is incongruous when compared with the current appearanceof the paintings. The discrepancy between the archival and material evidence,and also the need to understand the complexity of the painting technique usedwere the main motivations for undertaking the case study described in this chapter.Imaging alongside more traditional examination techniques were utilized torecord and document the mural decoration. The objectives of the case study wereto distinguish the original materials from those applied during restoration, identifythose materials, and correlate them with the archives. We also tried to understandthe medieval painting techniques used and assess the condition of the paintingsand stabilization requirements. Finally we aimed to find a sustainable solution forthe management of the various types of data collected. Various techniques andinvestigations offered valuable insights into the materials and the painting techniqueused. To improve visitor experience, based on the information gained in thecourse of this study, a 3D virtual representation of the original decoration is currentlyproposed for display to the public visiting the Château de Germolles.

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    https://doi.org/10.1017/978194...
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    https://doi.org/10.5040/978164...
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    Authors: Sahra Talamo; Mikołaj Urbanowski; Andrea Picin; Wioletta Nowaczewska; +21 Authors

    AbstractEvidence of mobiliary art and body augmentation are associated with the cultural innovations introduced by Homo sapiens at the beginning of the Upper Paleolithic. Here, we report the discovery of the oldest known human-modified punctate ornament, a decorated ivory pendant from the Paleolithic layers at Stajnia Cave in Poland. We describe the features of this unique piece, as well as the stratigraphic context and the details of its chronometric dating. The Stajnia Cave plate is a personal 'jewellery' object that was created 41,500 calendar years ago (directly radiocarbon dated). It is the oldest known of its kind in Eurasia and it establishes a new starting date for a tradition directly connected to the spread of modern Homo sapiens in Europe.

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    Scientific Reports
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    Authors: Sacha Kacki; Erik Trinkaus; Eline M.J. Schotsmans; Patrice Courtaud; +6 Authors

    International audience; The Mid-Upper Paleolithic (Gravettian) karstic Grotte de Cussac (France) contains two areas of human remains in the context of abundant (and spectacular) parietal engravings. The first area (loci 1 and 2) includes the skeleton of a young adult male in a bear nest, rearranged by postdecomposition inundation, and the variably fragmentary remains of at least two individuals distributed across two bear nests, sorted anatomically and with most of the elements constrained to one side of one nest. The second area (locus 3) retains remains of two adults and an adolescent, in upper hollows and variably distributed down the slope, largely segregated into upper versus lower body groups. The only decoration associated with the human remains is red pigment on some of the bones or underlying sediment. The human remains indicate variable nonnatural deposition and manipulation of human bodies, body portions, and skeletal elements of at least six individuals. Moreover, Cussac is unusual in the association of these remains with exceptional parietal art. The complex Cussac mortuary pattern joins growing evidence from other Gravettian sites of variable treatment of individuals after death, within and across sites, in terms of formal deposition of the body versus postmortem manipulation versus surface abandonment. It provides a window onto the social diversity and the complex interactions of the living and the dead among these successful Late Pleistocene foragers.

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    Europe PubMed Central
    Other literature type . 2020
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

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    DI-fusion
    Article . 2019 . Peer-reviewed
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    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
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    Authors: Bartette, Titien; Rosso, Emmanuelle;

    International audience; The Augustan Theatre of the Roman city of Arausio (Orange, France) is the only one in the Roman West to have preserved its entire stage building; however, it is now completely stripped of the rich marble decoration that originally adorned it. While thousands of fragments of this decoration have survived, it is paradoxically difficult to propose a global restitution, due to the conservation conditions, the presence of ancient restorations and the extreme fragmentation of the remains. As a step of the new researches on the theatre undertaken in 2000, the use of digital imaging to study the figurative set has made it possible to overcome some of these obstacles: the digitisation and gathering of fragments of certain friezes in the same virtual space thanks to the development of a dedicated software tool has considerably facilitated observations, comparisons and restitution proposals. In a second step, the integration of these friezes into the orders of the scaenae fronscould be considered. Whether based on technical criteria (tool traces, fixing mortices, etc.), iconographic or stylistic criteria (determination of characteristic rhythms, volumetric comparisons, restoration of figurative sequences, etc.), the application of these technologies has not only provided an unparalleled visualization tool to date, but also allowed the multiplication of restitution hypotheses and their validation.; Le théâtre augustéen d’Orange est le seul dans l’Occident romain à avoir conservé l’intégralité de son bâtiment de scène ; il est cependant aujourd’hui entièrement dépouillé du riche décor de marbre qui le parait à l’origine. Alors que des milliers de fragments de cette parure nous sont parvenus, il est paradoxalement difficile d’en proposer une restitution complète, du fait des conditions de conservation, de la présence de restaurations anciennes et de l’état de fragmentation extrême des vestiges. Dans la continuité de la nouvelle étude du théâtre entreprise en 2000, le recours à l’imagerie numérique pour l’étude du décor figuré a permis de dépasser une partie de ces obstacles : la numérisation et la réunion des fragments de certaines frises dans un même espace virtuel grâce à la mise au point d’un outil logiciel dédié a facilité considérablement observations, comparaisons, rapprochements et propositions de restitution. Dans un second temps, l’intégration de ces frises aux ordres du mur de scène a pu être envisagée. Qu’elle se soit fondée sur des critères techniques (relevé des traces d’outil, des mortaises de fixation, etc.), iconographiques ou stylistiques (détermination de rythmes et d’alternances caractéristiques, comparaisons volumétriques, restaurations de séquences figuratives, etc.), l’application de ces technologies aura non seulement fourni un outil de visualisation sans équivalent jusqu’à présent, mais aussi permis la multiplication des hypothèses de restitution et leur validation sans avoir à manipuler ou à déplacer les fragments.

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    Authors: Pioffet, Hélène; Ard, Vincent;

    The British Neolithic transition, occurring around 4000 BC, at least one millennium after the continental part of Northwest Europe, is still subject to important debate these days. Various studies suggest that the Neolithic start involved farming immigrants from various parts of the Continent. However, ceramics of the Early Neolithic of Britain became increasingly distinct from their Continental roots, particularly in the Southwest and Southeast of England. We recently completed two important projects, one on Early Neolithic British and Irish pottery and the other on Peterborough Ware, integrating a new way of considering these early productions through a technological approach and the observation of various steps of the chaîne opératoire. This paper is the opportunity to present preliminary results which shed a new light on the evolution of pottery wares during the fourth millennium BC in Southern Britain. It specifically highlights strong connections between Early Neolithic and Middle Neolithic pottery, in terms of style, but above in terms of manufacturing techniques.

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    Archeologické Rozhledy
    Article . 2017 . Peer-reviewed
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    Authors: Dumons, Bruno;

    En choisissant de mettre à l’honneur des citoyens modèles, notamment grâce à la technique des décorations, la Troisième République a recours à une pédagogie par l’exemple pour installer durablement une culture méritocratique dans la société française. Pour cela, elle invente de nouvelles médailles tout en s’appropriant celles qui avaient été créées sous les régimes précédents comme la plus prestigieuse d’entre elles : la Légion d’Honneur (1802). Si l’historiographie des usages symboliques de la République a été rendue solide avec les travaux de Maurice Agulhon sur la Provence, moins connues sont ces « élites de l’honneur » dont les archives publiques ont conservé les traces. En explorant le célèbre « Var rouge », il nous a été permis de cerner le profil de ces élites méditerranéennes que l’État républicain a souhaité honorer entre 1870 et 1940. Parmi celles-ci, se distingue la catégorie des maires, en particulier ces « bons maires » qui œuvrent pour la « républicanisation » de la société. Ce sont quelques-unes de ces personnalités qui seront présentées dans ce chapitre. In designating model citizens through processes like decorations, the French Third Republic set examples to establish a culture of meritocracy in French society. It invented new medals and appropriated existing ones created by former regimes, including the most prestigious of all: the Légion d’Honneur (1802).Although the historiography of the Republic’s symbolic practices has been augmented by Maurice Agulhon’s works on Provence, this “elite of honour” whose trace remained in public archives is not well known. We explored the “Var rouge” (the predominantly left-wing Var département) to study the profiles of this Mediterranean elite which was honoured by the Republican state between 1870 and 1940. These include the category of mayors, in particular the “bons maires” who contributed to the “republicanisation” of society. This chapter presents a few of these personalities.

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    Cahiers de la Méditerranée
    Article . 2017 . Peer-reviewed
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      Cahiers de la Méditerranée
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    Authors: Durocher, Maxime;

    1370–1410 yılları arasında Dazya’da inşa edilen Lulu bin Abdullah ve Tokat’ta inşa edilen Horozoğlu Ahmed Bey dergahlarının bazı bölümleri, göze çarpan benzerliklere sahip zarif ustuka süslemelerle bezelidir. Bu derlemede, Orta Çağ Anadolusu’nda, günümüzde bile çalışmalarda hak ettiği yeri bulamayan ustuka üretiminin yanı sıra Eretna Beyliği topraklarında, Osmanlı hakimiyetiyle birlikte girilen geçiş dönemi dergah mimarisinde tek tipleşme ele alınmıştır. Orta ve Doğu Karadeniz bölgelerinden bu iki örnek olay incelemesine odaklanan makale, ustuka imalatının köklerinin yerel geleneklere dayandığını savunmaktadır. Buna ek olarak, söz konusu süslemelere Osmanlı’nın ilk yıllarında inşa edilen dergahlarda da rastlanması, bölgesel ölçekte sanatsal etkileşimler ve bilgi alışverişi konularını açıklığa kavuşturarak Orta Anadolu’nun Orta Çağı’nı Osmanlı İmparatorluğu’nun doğuş döneminden keskin bir çizgiyle ayıran tarihi sınırı ortadan kaldırmaktadır. Built between the 1370s and the 1410s, the dervish lodges of Lulu ibn ʿAbdallah in Tazya and of Horozoğlu Ahmed Bey in Tokat are partially ornamented with refined stucco decorations that have remarkable similarities. This corpus illustrates the production of stucco in medieval Anatolia, a material still understudied, as well as the progressive standardization of the architecture of dervish lodges during a transitional period that witnessed the emergence of the Ottomans in the former Eretnid realm. Focusing on these two case studies from the Inner Pontos region, this paper argues that such production is rooted at the local scale. Moreover, the study of such ornamentation also present in early Ottoman dervish lodges sheds new light on the artistic exchanges and circulations at a regional scale, deconstructing the historiographic border isolating central Anatolia from the emerging Ottoman Empire.

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    Solute decoration at grain boundaries (GB) leads to a number of phenomenon such as changes in interface structure, mobility, cohesion etc. Recent experimental investigations on interfacial segregation in steels are based on microstructural characterisation using two correlative methodologies, namely, Transmission Electron Microscopy-Atom Probe Tomography (APT) and Electron Backscatter Diffraction-APT. Considering the growing interest in this avenue, the present review is aimed at addressing the common adsorption isotherms used for quantifying interfacial segregation and providing an overview of the present state of experimental research in the area of GB segregation in steels. The areas where an understanding of GB segregation may be utilised have also been highlighted with a focus on the experimental challenges associated with understanding GB segregation in steels.

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    https://doi.org/10.31224/2891...
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    https://doi.org/10.48550/arxiv...
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      https://doi.org/10.31224/2891...
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      Other literature type . Preprint . 2022
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    Authors: Ludovic Le Saux;

    A few days before the opening of the exhibition on Edward Burne-Jones, Tate Britain released a tantalising trailer for this unique event, as no exhibition devoted to the Victorian artist had been held since 1998 – in his hometown, Birmingham – and for over forty years in London. Featuring three mesmerising tableaux vivants of pictures by Burne-Jones (Laus Veneris, Love among the Ruins, and The Rose Bower), the trailer highlights the approach adopted by Chief Curator Alison Smith, and Assistan...

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    Article . 2019
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    Miranda: Revue Pluridisciplinaire du Monde Anglophone
    Article . 2019 . Peer-reviewed
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      Miranda: Revue Pluridisciplinaire du Monde Anglophone
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    Authors: Christian, Degrigny; Piqué, Francesca;

    International audience; The aim of this study was to examine and document the wall paintings in theChâteau de Germolles. Situated in Burgundy, France, Germolles is the best preservedresidence of the Dukes of Burgundy and was listed as a monument ofnational importance in 1989.The medieval wall decoration of the Château de Germolles was rediscoveredunder the nineteenth-century plasters during World War II. Medieval accounts ofthe château provide a detailed list of the materials acquired to make the muraldecoration, but this list is incongruous when compared with the current appearanceof the paintings. The discrepancy between the archival and material evidence,and also the need to understand the complexity of the painting technique usedwere the main motivations for undertaking the case study described in this chapter.Imaging alongside more traditional examination techniques were utilized torecord and document the mural decoration. The objectives of the case study wereto distinguish the original materials from those applied during restoration, identifythose materials, and correlate them with the archives. We also tried to understandthe medieval painting techniques used and assess the condition of the paintingsand stabilization requirements. Finally we aimed to find a sustainable solution forthe management of the various types of data collected. Various techniques andinvestigations offered valuable insights into the materials and the painting techniqueused. To improve visitor experience, based on the information gained in thecourse of this study, a 3D virtual representation of the original decoration is currentlyproposed for display to the public visiting the Château de Germolles.

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    https://doi.org/10.1017/978194...
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    https://doi.org/10.5040/978164...
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    Authors: Sahra Talamo; Mikołaj Urbanowski; Andrea Picin; Wioletta Nowaczewska; +21 Authors

    AbstractEvidence of mobiliary art and body augmentation are associated with the cultural innovations introduced by Homo sapiens at the beginning of the Upper Paleolithic. Here, we report the discovery of the oldest known human-modified punctate ornament, a decorated ivory pendant from the Paleolithic layers at Stajnia Cave in Poland. We describe the features of this unique piece, as well as the stratigraphic context and the details of its chronometric dating. The Stajnia Cave plate is a personal 'jewellery' object that was created 41,500 calendar years ago (directly radiocarbon dated). It is the oldest known of its kind in Eurasia and it establishes a new starting date for a tradition directly connected to the spread of modern Homo sapiens in Europe.

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    Scientific Reports
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    Authors: Sacha Kacki; Erik Trinkaus; Eline M.J. Schotsmans; Patrice Courtaud; +6 Authors

    International audience; The Mid-Upper Paleolithic (Gravettian) karstic Grotte de Cussac (France) contains two areas of human remains in the context of abundant (and spectacular) parietal engravings. The first area (loci 1 and 2) includes the skeleton of a young adult male in a bear nest, rearranged by postdecomposition inundation, and the variably fragmentary remains of at least two individuals distributed across two bear nests, sorted anatomically and with most of the elements constrained to one side of one nest. The second area (locus 3) retains remains of two adults and an adolescent, in upper hollows and variably distributed down the slope, largely segregated into upper versus lower body groups. The only decoration associated with the human remains is red pigment on some of the bones or underlying sediment. The human remains indicate variable nonnatural deposition and manipulation of human bodies, body portions, and skeletal elements of at least six individuals. Moreover, Cussac is unusual in the association of these remains with exceptional parietal art. The complex Cussac mortuary pattern joins growing evidence from other Gravettian sites of variable treatment of individuals after death, within and across sites, in terms of formal deposition of the body versus postmortem manipulation versus surface abandonment. It provides a window onto the social diversity and the complex interactions of the living and the dead among these successful Late Pleistocene foragers.

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    Europe PubMed Central
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