November 2013: ”Sensory Data and Digital Prototypes for the Roman Amphitheatre: a case Study for Sound”, The Empire of The Senses: Methodologies in Sensory Archaeology, The Open University, UK.

1. (Digital) Bread and
Circuses
Reframing Roman Spectacle for
Different Screens
Dr. Anna Foka
anna.foka@humlab.umu.se
Multiple Screens as Material
HUMlab, Umeå University, Sweden

2. Summary
1. Historical
Accuracy?
2. Critical Making:
Implications
3. Sound as a Case
Study
4. Preliminary
Conclusions/Outcome
s
Ippolitto Caffi:
The Interior of the Colosseum
The entrance of the Colosseum (circa 1840)

3. Antiquity in 3D
Urban Development
Applications of
technology in museology
Narratives of digital
Heritage
Historical Accuracy?
Experience?

4. The amphitheatre as an
experience of the Senses
‘Total sensory
experience of the ludi’
(Toner 2009: 123)
How?
Participatory (Giaccardi
et. al:2012)
Gamification of
knowledge (Zichermann:
2011, Foka: 2014)
Kinaesthetics, Sound,

5. Critical Making
1. Literature Review
2. Design and Building
3. Iterative reconfiguration + conversation
= reflection begins.
(Ratto: 2011)
’Emergence Sense-making’
Conceptual Design, Artistic Practice and

6. The pyramid of implications for
multisensory conceptual&critical
making
1
24
3

7. Hermeneutics VS Ocularcentrism
Witmore (2004 and 2006)
Howes (2005)
Favro (2006)
Drobnick (2006)
Betts (2011 and 2013)
Lindhé (2013)- Digital Ekphrasis

8. Making the Intangible-
Tangible: Sounds of the
Ludi
Acoustic Archaeology
Peripatetic Archaeology
Narratives of Sound>>> Modes
of listening >>>sound
production
Chion (1995)

9. Modes of listening
Turii et all (2007) 15-7
Order of modes- Cognitive abstraction from
low to high

10. Samples of Case Studies
Plutarch Cicero 13: Hissing and
applausing
Dionysius Halicarnassus, Roman
Antiquities, 7.72. 13: Musicians and
Procession

11. Preliminary conclusions in
the making
Critique and Expression
Cultural and Historical Significance
Experience
Database of sounds + Level of
Cognitive abstractions?
Screens: Sound + Vision =1

12. Thank you!
graffiti comes from Pompeii (CIL IV 10237)
Pompeii Graffiti (CIL IV 10237)
anna.foka@humlab.umu.se
Twitter: @fencingfox