• Digital Humanities and Cultural Heritage
• Publicationsclose
• Other research productsclose
• 2018-2022close
• Other ORP type close

From page 2 to page 6

The paper presents for the first time the imports of Spanish lustreware in Bulgaria. For a long time such ware remained neglected probably because there have been very few finds usually representing an insignificant segment of the ceramic assemblages from medieval settlements. However, to assume a supply of western goods is more than reasonable given the wide trade contacts of the Tarnovo Tsardom and the Dobrudzha Despotate during the 14th c., and the dominant role of the Italian maritime republics in the Black Sea trading region. The targeted search for Spanish imports in several museum collections confirmed their presence in six settlements along the Black Sea coast: Sozopol, Varna, Kastritsi, Kaliakra, the fortresses of Rusokastro and Petrich near Varna. The pottery included in the paper illustrates the 14th to 15th c. imports of the following well known in the European studies subgroups of Valencian production: loza valenciana malagueňa dorada y azul; loza valenciana dorada Pula; loza valenciana dorada clasicá. The presence of some 16th c. post-Valencian products, most probably originating from the workshops of Muel, Saragossa, is also suggested. Most of the examined finds show that Iberian imports, even though just a few, reached Bulgaria between the 1330s and the late 15th c., most likely due to Italian merchants. Numerous written sources prove that the main reason for the active policy followed by Genoa and Venice was the export of cheap cereals and raw materials. There is no explicit information about the import of ceramics but given the connections of the two maritime republics with Spanish ports, especially the Genoese ones, it can be assumed that they supplied luxury lustreware to both Bulgarian lands and cities on the North Black Sea coast.

In the course of rescue archaeological excavations of site 1/1000 at Baba Velika locality, located at the foot of Vrashka chuka in Northwest Bulgaria, the remains of an Early Iron Age site were encountered. This paper is focused on the pottery assemblage found during the rescue archaeological excavations at Vrashka chuka. The study presents the main characteristic of the Early Iron Age pottery found in the features and the general characteristics of the pottery found in the Early Iron Age cultural layer. It also discusses the recognizable shapes and decorative motifs and points out synchronous parallels. The study of the pottery assemblage from Vrashka chuka provided us with the opportunity to shed a new light on the development of the Early Iron Age in Northwest Bulgaria, and especially the district of the modern city of Vidin. The intensive archaeological excavations in recent years have opened a new page in the studies of the Early Iron Age in this part of Bulgaria, which so far was not studied in details.

Bibliografía del sitio arqueológico de Dzehkabtún, Municio de Hopelchén, Campeche, México (compilada por I. Paap)

Bibliografía del sitio arqueológico de Santa Rosa Xtampak, Municio de Hopelchén, Campeche, México (compilada por I. Paap)

This is part 4 of the Rchon statistics course. It continues the basics of statistical testing in R. In this tutorial, we will treat the following statistical testing methods: Mann-Whitney test Kruskal-Wallis test Kolmogorov-Smirnov test Follow the instructions in Instructions Tutorial 4.pdf to start the tutorial. This course was originally created for Archon Research School of Archaeology by Philip Verhagen (Vrije Universiteit Amsterdam) and Bjørn P. Bartholdy (University of Leiden), and consists of an instruction, a tutorial, a test and two datafiles. All content is CC BY-NC-SA: it can be freely distributed and modified under the condition of proper attribution and non-commercial use. How to cite: Verhagen, P. & B.P. Bartholdy, 2022. "Rchon statistics course, part 3". Amsterdam, ARCHON Research School of Archaeology. https://doi.org/10.5281/zenodo.7458108

This is part 3 of the Rchon statistics course. It continues the basics of statistical testing in R. In this tutorial, we will treat the following statistical testing methods: chi square test Fisher's exact test Follow the instructions in Instructions Tutorial 3.pdf to start the tutorial. This course was originally created for Archon Research School of Archaeology by Philip Verhagen (Vrije Universiteit Amsterdam) and Bjørn P. Bartholdy (University of Leiden), and consists of an instruction, a tutorial, a test and two datafiles. All content is CC BY-NC-SA: it can be freely distributed and modified under the condition of proper attribution and non-commercial use. How to cite: Verhagen, P. & B.P. Bartholdy, 2022. "Rchon statistics course, part 3". Amsterdam, ARCHON Research School of Archaeology. https://doi.org/10.5281/zenodo.7457698

It is a short biographical note for the Digital National Museum in Warsaw for the jubilee of 160 years of existence.

Research portfolio THE PROBLEM: The collection of items available as uploads (left) are broadly concerned with a class of rhythmic events that that contain disturbing elements, or “hiccups”. Example: Firstly, secondly, weirdly and thirdly… Hiccups can occur in sequences that are either logical, procedural or both (editorial). They are e.g. relevant in connection with photogravure editions. Featuring elements that are unexplainable/irrelevant in the sequence. 1, 2, X and 3… (See Didi-Huberman for an in depth analysis of the question. Didi-Huberman, Georges. (2008). La ressemblance par contact—Archaeologie et modernité de l’empreinte. Minuit.) I am broadly scouting for ways of taking stock such odd elements to see if it is possible to intercept the weft of the passage from image- to object perception. This is done by asking a question, showing an image, and providing an answer. The images are the ones contained in the slide-show (featuring the Q&A at the end). Together, the sequence of 26 Q&As with an image, feature a matrix of the type that Christopher Alexander called a pattern (with the interception X added here). The argument for making an account and finding uses for hiccups is: if unattended they leave a long tail, a growing shadow discussed here in Goethe’s and Jung’s terms. If hiccups are understood as elements occurring in a sequence/edition for which there is no rule, nor any currently existing learning algorithm, then they will tend to aggregate. If left unaccounted and unattended they will grow on par with the power and multiplication of computers in human exchange (i.e., a long entropic tail). Hence we here have a candidate model to explain how human and environmental relations could escalate to states of exception in a variety of un/related areas. And alternatives of how to deal with them are within reach of research. A solution that eliminates the problem—or, an answer that eliminates the question—contains no knowledge. SYNOPSIS From the exhibition element shown in Gallery ROM61 at KMD, for the seminar Tracing Rhythm, a carousel of slides were slung in a spiral out of the Lineup called La Kahina. Her journey around the world as the wife of a diplomat called K, features a variety of homes: domestic interiors adapted to a variety of local circumstances and the job. On the backdrop of this adaptive enclosure the life and work of her husband: the Norwegian political positions in the global oil and gas-trade. Between them a middle zone dedicated to mundane and cultural events: La Kahina’s home is never quite private, and K’s diplomatic errands are never quite public. The middle zone is fringe-space between the private and public domains. It is compared with Goethe’s studio and Arne Næss cabin at Tvergastein (Hallingskarvet). From this an idea of a proximal space—smaller than the world but wider than the body—is connected to the come-and-go between studio-work and fieldwork. In this setting, three art works are compared in terms of how they differently combine field- and studio-work: William Kentridge, Geir Harald Samuelsen, Dragoş Gheorghiu. It is suggested that the vectorial sum of field- and studio-work are organised according to 3 material tropes (Karen Barad): entanglement, superposition and intra-action. From this it is further anticipated that complex phenomena will be composite in terms of these 3 tropes. Providing a ground work for understanding current critical turns. The two chief conversation partners are here Bruno Latour’s titles: Down to Earth (2018) and After lockdown (2021). The idea of the long-tail model above came from there. The essay (attached) was written in preparation to the seminar Tracing Rhythm to reach a ground zero from where the images could be at the forefront. The result was a hiccup: that is, it produced a phenomenological equivalent—or, the event—of Shannon’s definition of information as entropy. On account of the multiplication of images perceived owing to the many instrumental shifts in the production of a photogravure, the techniques becomes an experimental laboratory to explore image collapse into object perception. The Kahina lineup attempts to transpose the production of this transition into an exhibition space, in making the image to object perception available to the viewer in the form of a debatable proposition. However, the photogravure process also features an artistic proposition (exposition) as an active model of similar types of problem (outlined above): notably types of processes where object perception is indeterminately anticipated and proposed. Calling on a hammerbolt, or featuring a counter-beat. As an entry/exit device in working with diary materials—as is the case in the National Library residency in which the project is currently hatching—photgravure has a similar function as the wind-rose on maps. One that steers towards the hatching of an object. Most probably a book. The hosting PKU project—Matter Gesture and Soul—is one of the unique arenas where academic pursuits and research can combine with workshop premises of the art field. Matter Gesture and Soul (DIKU/KMD)