Art in Renaissance Italy

Spring 2016

ARTHIST 255-01 | MEDREN 225-01 | ITALIAN 386-01

Kristin Huffman

Iara Dundas, TA

MW 1:25-2:40pm | Smith Warehouse, Bay 9 2nd Floor, Rm A290

This course focuses on the art and culture of Renaissance Italy, beginning in the early 15th century with the groundbreaking sculpture of Ghiberti and Donatello and concluding at the end of the 16th century with the monumental projects of urban renewal in Rome. The class considers a range of artists, some well known such as Michelangelo and Titian, others less studied but who also made significant contributions to the period. An understanding of emerging Renaissance artistic ideals and a modern attitude to art is central to the subject; additionally, this class seeks to develop an awareness of the many ways in which Renaissance spectators experienced art and architecture. By opening up the Renaissance to varied perceptions and interpretative frameworks, this class moves beyond common generalizations of Renaissance individualism or Renaissance rebirth. To do this, a range of topics and issues will be explored that include important, yet at times overlooked themes in a survey course: public versus private display, “high and low” art (painting, sculpture, architecture vs. textiles, glass, ceramics, furniture), visual imagery used both to promote and subvert politically driven propaganda, foreign communities and foreign artists, women as both patrons and practitioners, centers and peripheries (cosmopolitan versus “provincial” art).

Historical & Cultural Visualization Proseminar 1

Fall 2020 | Fall 2019 | Fall 2018 | Fall 2017 | Fall 2016 | Fall 2015 | Fall 2014

ARTHIST 580S-01 | HCVIS 580S-01 | ISS 580S-01 | VMS 580S-01

Victoria Szabo & Hannah Jacobs

W 3:05PM - 5:35PM | Wired! Lab (Smith, Bay 11, A233)

Overview of topics in digital humanities and computational media, with special attention to visual media. Studies of critical digital heritage, virtuality and culture, information aesthetics, information design, digital storytelling. Interactivity and online content management through databases, collaborative blogs, and online archives. Data visualization and mapping based on textual, image, and quantitative sources. Mini-projects based on existing and new research data from existing projects in the Wired! Lab, the CMAC labs, and other sources. Best practices for digital research project planning and collaboration. Instructor consent required.

This course is a core part of the MA in Digital Art History/Computational Media.

Gothic Cathedrals

Fall 2020 | Fall 2018 | Fall 2017 | Fall 2016 | Fall 2015 | Fall 2014 | Fall 2012

ARTHIST 225-01 & 225-01L | MEDREN 215-01

Edward Triplett

TTh 3:05-4:20pm | Link Classroom 6 (Game Lab)

This course introduces students to the history and design of cathedrals and monasteries in medieval Europe. Themes include the development of Gothic architecture from Romanesque foundations in France, the importance of fractions and Euclidean geometry for medieval architects, and the material and financial costs of monumental construction projects during the middle ages. In addition to lectures and discussion, students will design a counterfactual monastery or cathedral using 3D graphics software as part of a final project. In-class tutorials will teach students how to draw plans, elevations and sections of churches and monastic buildings and how to build 3D models from these drawings.

Course Attributes:

(CCI) Cross Cultural Inquiry
(R) Research
Cross-listed in another department
(ALP) Arts, Literature & Performance
(CZ) Civilizations

This course was formerly offered by Professor Emerita Caroline Bruzelius. In Fall 2018, it was offered as a First Year Seminar under the name “Medieval Monasteries & Cathedrals.”


Projects

Cathedral of Saint Susanne

Topics in Digital History & Humanities: NC Jukebox

Fall 2015

ISI 317S | HIST 317S | MUS 317S

Victoria Szabo and Trudi Abel

TH 10:05am-12:35pm | Rubenstein Library

Digital History and Digital Humanities in theory and practice. Students plan, research and develop new technology projects which present archival material and historical interpretations to scholars and the general public through research papers, websites, and museum exhibits. The course meets weekly to discuss readings in American history, southern history, and digital history/humanities. Students explore archival material in the Rubinstein Library, learn how to use digital tools for humanities projects, develop principles of effective digital project management, create cross-disciplinary collaborations and learn about the ethics for creating research projects in the humanities.

This project is focused on transforming an inaccessible audio archive of historic North Carolina folk music into a vital, publicly accessible digital archive and museum exhibition. Nearly 97 years ago and into the 1930s, Frank C. Brown, a Duke scholar, began recording North Carolina folk music and archiving it for posterity. Most of those recordings are still housed on glass disks in Rubenstein Library, but we already have about 400 songs for which we have digitized audio and handwritten metadata with which we can work on the initial version of what we are calling the proof-of-concept NC Jukebox project.

For our project we envision converting this music to playable audio forms and making it accessible to the public in a variety of value-added, contextualizing digital and installation media exhibitions. We also want to prototype a database system to begin organizing and sharing the larger set of materials when they have been digitized later.

This course is part of the Bass Connections pathway Information, Society & Culture.

Virtual Museums: Theories and Methods of 21st Century Museums

Fall 2015

ARTHIST 305L

Maurizio Forte

The future of museum is on the immateriality, affordances, interactions, processes, artificial organisms, cyber-spaces. After an era of museography, of inorganic taxonomic museums, the short life of virtual museums, the future will be on cyber-museums: borderless, distributed, embodied and able to reproduce new knowledge in different forms, layout and rhizomes. The Internet of Things, augmented reality technologies, new data analyses of artifacts, virtual reality systems, body sensors and simulations associated to new forms of engagement are going to transform missions, roles, goals and communication of museums and collections. The transformation of museums in more dynamic, flexible and open institutions is a challenge of this century and, more importantly, this trend generates new job positions and different professional profiles at the level of cultural resource management, museum communication and technological research. The core of the course will be in digital lab sessions which will be focused on the virtual reconstruction on lost heritage and, more specifically, on museums and sites destroyed and damaged by ISIS and other conflicts in Iraq and in the Middle East such as Hatra, Nineveh, Nimrud, Baghdad.