Jacqueline K Ortoleva
Dados Biográficos
| ID | 286044 |
|---|---|
| NOME | Jacqueline K Ortoleva |
| PRENOMES | Jacqueline K |
| SOBRENOME | Ortoleva |
| ASSINATURA | ORTOLEVA J K |
| AFILIAÇÕES | University of Birmingham |
| ORCID | 0000-0002-1414-8191 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 7 |
| TOTAL DE CITAÇÕES | 4 |
| OBRAS COMO AUTOR | 7 |
| OBRAS COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2021 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2027 |
| ÍNDICE H | 1 |
Performing Power and Transitional Space
This article presents a new multimodal AI and acoustic methodology using two 5th c. BCE Etruscan painted tombs at Tarquinia, Italy, the Tomba del Gallo and the Tomba dei Demoni Azzurri as case studies. Via the integration of AI computer vision–based visual saliency analysis, architectural affordance modelling, acoustic data, and agent-based perceptual trajectories, the study suggests that each tomb affords distinct experiential strategies. The To…
Corinna Riva
Sounds of the blue daemon
The archaeological record of ancient Etruria suggests that different sounds were significant across sacred and secular settings. This is represented in everything from surviving musical instruments to vibrant images of musical performance and religious ritual involving natural phenomena. Nowhere is this more acute than the painted tomb where hundreds of images of musicians and dancers crowd tomb walls with their visually compelling yet silent sou…
Light and vision inside the Tomba degli Hescanas, Orvieto (Porano), 350–325 BCE
Etruscan painted tombs provide the most well-preserved corpus of figurative wall paintings in the ancient Mediterranean. Today, Etruscan painted tombs remain largely understood from iconographic, epigraphic, and typological perspectives. Such approaches often emphasise the presumed meaning of images, objects, or words inside the tomb, rather than how the tomb space was cognitively experienced by funerary participants. One of the most profound way…
Visions of light
Making Sense of Landscape
The study of pre-Roman landscape settings has progressed across a long trajectory in its consideration of urban and rural adaptations in Etruria. Such studies, while providing valuable details regarding social organization, have not considered the unique aural nature of the landscape, particularly with respect to funerary settings. Nowhere is this more evident than with painted chambered tombs. Our understanding of Etruscan painted tombs is still…
Sounds of Etruria
This article presents the results of an archaeoacoustic analysis conducted inside the three chambers of the fourth-century BC Etruscan painted tomb of Tomba dell'Orco at Tarquinia. Using digital sound samples and an acoustic recording protocol, the study demonstrates how, in some areas of the tomb, low-frequency sounds, such as drumming and chanting, produce lengthy reverberation times. These effects may have been associated with the natural rumb…
Sounds of Etruria
This article presents the results of an archaeoacoustic analysis conducted inside the three chambers of the fourth-century BC Etruscan painted tomb of Tomba dell'Orco at Tarquinia. Using digital sound samples and an acoustic recording protocol, the study demonstrates how, in some areas of the tomb, low-frequency sounds, such as drumming and chanting, produce lengthy reverberation times. These effects may have been associated with the natural rumb…
Making Sense of Landscape
The study of pre-Roman landscape settings has progressed across a long trajectory in its consideration of urban and rural adaptations in Etruria. Such studies, while providing valuable details regarding social organization, have not considered the unique aural nature of the landscape, particularly with respect to funerary settings. Nowhere is this more evident than with painted chambered tombs. Our understanding of Etruscan painted tombs is still…
Corinna Riva
Sounds of the blue daemon
The archaeological record of ancient Etruria suggests that different sounds were significant across sacred and secular settings. This is represented in everything from surviving musical instruments to vibrant images of musical performance and religious ritual involving natural phenomena. Nowhere is this more acute than the painted tomb where hundreds of images of musicians and dancers crowd tomb walls with their visually compelling yet silent sou…
Light and vision inside the Tomba degli Hescanas, Orvieto (Porano), 350–325 BCE
Etruscan painted tombs provide the most well-preserved corpus of figurative wall paintings in the ancient Mediterranean. Today, Etruscan painted tombs remain largely understood from iconographic, epigraphic, and typological perspectives. Such approaches often emphasise the presumed meaning of images, objects, or words inside the tomb, rather than how the tomb space was cognitively experienced by funerary participants. One of the most profound way…
Visions of light
Performing Power and Transitional Space
This article presents a new multimodal AI and acoustic methodology using two 5th c. BCE Etruscan painted tombs at Tarquinia, Italy, the Tomba del Gallo and the Tomba dei Demoni Azzurri as case studies. Via the integration of AI computer vision–based visual saliency analysis, architectural affordance modelling, acoustic data, and agent-based perceptual trajectories, the study suggests that each tomb affords distinct experiential strategies. The To…
Art (6 obras) · Ancient Mediterranean Archaeology and History (5 obras) · Archaeology (5 obras) · Visual arts (5 obras) · History (4 obras) · Archaeology and Rock Art Studies (3 obras) · Geography (3 obras) · 3D Surveying and Cultural Heritage (2 obras) · Acoustics (2 obras) · Ancient history (2 obras)