Talks by Caroline Bruzelius
Inside-Outside. Mendicant Spatial Practices in the Convent and in the City
The Tramezzo of Santa Chiara in Naples. New Technologies for Old Questions
The location and character of the choir screen of Santa Chiara in Naples has long been an unknown... more The location and character of the choir screen of Santa Chiara in Naples has long been an unknown component in studies of the church. A recent effort to identify its location with ground-penetrating radar (conducted by Leopoldo Repola), inserted into a corrected plan and longitudinal section (created through the laser scan of Emanuela De Feo), enabled a research group to identify the location and propose a hypothetical reconstruction in a 3D model. The hypothetical model enables new inquiry into structural, visual, liturgical and social aspects of this monument.
Demonstration: Using a Neatline Syllabus in the Introductory Art History Survey
Presentation at 2016 College Art Association Panel Art Historians Interested in Pedagogy and Tech... more Presentation at 2016 College Art Association Panel Art Historians Interested in Pedagogy and Technology: “A Signature Pedagogy for Art History in the Twenty-
First Century.”
The paper investigates certain characteristic, innovative aspects of Trachtenberg's patterns of h... more The paper investigates certain characteristic, innovative aspects of Trachtenberg's patterns of historical inquiry, in particular his approach to pre-existing paradigms of period styles and the work of individual architects within them. Attention is given to the potentially transgressive dimension of Trachtenberg's methodological strategies in dealing with decorum's powerful but sometimes covert role, in its dual capacity as a theoretical principle that dominates Western architectural theory as well as the proprieties of argumentation used within the disciplines of art and architectural history. Trachtenberg's aggressive but often playful inversions of received paradigms, together with his skeptical and original elision of old, or generation of new terminologies, raise significant issues about the place of critical thinking within the past, present and future of the mainstream disciplines.
Digital Thinking and Art History: Re-Imagining Teaching, Research, and the Museum
Professor Bruzelius is a co-founder of the Wired! group, a project that looks at how mapping and ... more Professor Bruzelius is a co-founder of the Wired! group, a project that looks at how mapping and modelling technologies, as well as databases and interactive museum displays, can transform our understanding of things, places, and spaces.
In this public lecture she will show some examples of how digital tools enable us to map and model growth and change in cities (Visualizing Venice), reconstruct lost or transformed buildings and urban environments (Digital Athens), create virtual collections (The Kingdom of Sicily Image Database) and invent interactive museum displays that can engage the public with fragments from the past.
Caroline will talk about creating a bridge between traditional art historical approaches and the capacities of digital technologies, using the Wired! group's commitment to integrating digital tools with teaching and training as an example.
Wired! Full Immersion: Neatline and the Digital Syllabus
At the beginning of each semester, students are showered with pages and pages, printed or pdf-ed,... more At the beginning of each semester, students are showered with pages and pages, printed or pdf-ed, of course syllabi. Along with expectations and grading breakdowns, these contain perfunctory lists of topics covered in each course and assignments accompanying each topic. What happens when a syllabus is thought of as course material itself rather than simply a schedule or outline? What happens when it is taken from the page and placed in an interactive spatiotemporal digital environment?
For her spring 2015 Introduction to Art History course, Professor Caroline Bruzelius, along with her Teaching Assistant Joseph Williams and Wired! IT Analyst Hannah Jacobs, has transformed her syllabus into just such a teaching tool. Created as a Neatline exhibit, the syllabus includes not only the list of topics but also a timeline, maps, lecture slides, readings, and videos. Here, students can engage visual representations of their course materials before, during, and after class.
Students then use their understanding of the course material in a visual form to create their own art historical narratives. Several students will join the conversation to discuss the syllabus, their own projects, the challenges they faced when adapting textual content to Neatline, and the lessons they have learned from their experiences.
Preaching, Burying and Building: the Early Architecture of the Mendicant Orders
TED Talk on Digital Modeling for Change over time
The Wired! project at Duke
Digital Technology and Art History (in Italian)
Uploads
Talks by Caroline Bruzelius
First Century.”
In this public lecture she will show some examples of how digital tools enable us to map and model growth and change in cities (Visualizing Venice), reconstruct lost or transformed buildings and urban environments (Digital Athens), create virtual collections (The Kingdom of Sicily Image Database) and invent interactive museum displays that can engage the public with fragments from the past.
Caroline will talk about creating a bridge between traditional art historical approaches and the capacities of digital technologies, using the Wired! group's commitment to integrating digital tools with teaching and training as an example.
For her spring 2015 Introduction to Art History course, Professor Caroline Bruzelius, along with her Teaching Assistant Joseph Williams and Wired! IT Analyst Hannah Jacobs, has transformed her syllabus into just such a teaching tool. Created as a Neatline exhibit, the syllabus includes not only the list of topics but also a timeline, maps, lecture slides, readings, and videos. Here, students can engage visual representations of their course materials before, during, and after class.
Students then use their understanding of the course material in a visual form to create their own art historical narratives. Several students will join the conversation to discuss the syllabus, their own projects, the challenges they faced when adapting textual content to Neatline, and the lessons they have learned from their experiences.