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Diffracting Digital Images - Archaeology, Art Practice and Cultural Heritage: Ian Dawson, Andrew Meirion Jones, Louisa Minkin,... Diffracting Digital Images - Archaeology, Art Practice and Cultural Heritage
Ian Dawson, Andrew Meirion Jones, Louisa Minkin, Paul Reilly
R1,208 Discovery Miles 12 080 Ships in 12 - 17 working days

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.

Diffracting Digital Images - Archaeology, Art Practice and Cultural Heritage (Hardcover): Ian Dawson, Louisa Minkin, Paul... Diffracting Digital Images - Archaeology, Art Practice and Cultural Heritage (Hardcover)
Ian Dawson, Louisa Minkin, Paul Reilly, Andrew Meirion Jones
R3,886 Discovery Miles 38 860 Ships in 12 - 17 working days

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.

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