16:00 - 16:40 Tara Andrews, University of Vienna, Austria, “Computational Models for Editing Medieval Texts: The Case of Matthew of Edessa"
|What are the consequences for data modelling when we think of critical edition not as a document, but as a process? In this talk I will outline such a process-based approach, adopted in the upcoming digital edition “The Chronicle of Matthew of Edessa Online”, in which the logic of edition is modelled not merely in the data format, but also in the associated computer code, embedding logic that allows the editor to define custom answers to question such as the following:
- What constitutes a reading, in what context(s)? A lemma reading? A variant?
- How should variants be classified? What implicit hierarchy, if any, does the editor’s classification scheme have and what are the implications?
- How should the text be subdivided, and in what order(s) should these subdivisions be read?
- What kind of information is carried within the text, and how can that be expressed?
Most crucially, the process model allows the answers to these questions to be enforced consistently within the project, with the useful side effect of compelling the editor to reconsider assumptions that turn out not to be adequate. The result, as we hope to demonstrate, is a digital critical edition that inherently captures, not only the resulting text, but also the intellectual process by which it is produced.
16:50-17:30 Christian Prager, Academy of Sciences, Bonn, “Maya Hieroglyphic Writing: Tasks, Methods and Results in the digital Exploration of a Precolumbian Writing System“
|The talk will focus on the digital documentation and exploration of ancient Maya hieroglyphic texts, our digital sign catalogue using graph-technologies combined with XML TEI.|
17: 40 - 18:20 Virginio Cantoni, University of Pavia, „Technological innovation and visual artworks accessibility“
|Since 2000, our group is involved in the development of multi-sensory solutions, combining different interaction methods to provide museums and exhibits visitors with more engaging experiences and to allow blind and partially sighted people to appreciate artworks. Different solutions have been experimented, one of the most successful has been with 3D printing of tactile images: it is a transfer of pictorial information to a specific image that can be scanned by fingertips. In the 3D printed reproduction, each part is encoded so that it can be easily detected and convey the original content in an intelligible way. Moreover, in 2019, has been proposed an international competition in the artistic heritage sector designed to provide virtual solutions that ultimately add to the fresco restorer’s toolkit. Specifically, the challenge relates to digital ways of reassembling fresco fragments collected, photographed and cataloged after a destructive event. This competition has been also designed to engage people with autism in composition tasks that encouraged their inclusion in productive activities and promoted their skills. The result of the competition has been really a surprise.|