Papers by Gregory Tucker
Archaeological Sites in Longterm Perspectives. The History of Archaeology and Epistemic Conservation, 2017
2018 17th International Conference on Ground Penetrating Radar (GPR), 2018
Urban Landscape Survey in Italy and the Mediterranean, F. Vermeulen, G-J. Burgers, S. Keay and C. Corsi (eds), 2012
Conference Presentations by Gregory Tucker
14th International Conference for Nubian Studies, 2018
The emergence and adoption of convenient, reliable, and affordable technologies facilitates digit... more The emergence and adoption of convenient, reliable, and affordable technologies facilitates digital recording and processing in the course of field research, both improving the speed and quality of data entry and increasing access to data. This 'digital turn' in data collection and management has improved efficiency at the point of discovery, during secondary processing, and throughout later analyses. Consequently, much of the discussion surrounding the application of digital approaches in archaeology has focused on the data collection process and its subsequent impact on data dissemination. However, some of the secondary effects of this movement have not been fully evaluated, leaving us knowledgeable about the quantitative benefits of " going digital " but not about how this impacts researchers and how we conceptualize archaeological fieldwork and methodology.
Employing a completely digital workflow at the Pompeii Archaeological Research Project: Porta Stabia (PARP:PS) since 2010, we have observed that our approach has changed not only how we collect and employ data, but also how we interact with each other. We discuss results and interact with one another in different ways than before, with new expectations of what is possible in the field. Both specific details and synthetic ideas are able to be shared and collaboration takes place more quickly than ever thanks to our digital approach. Constant availability of digitally curated data has fostered an environment where asynchronous communication between team members is possible and, in many ways, preferred.
In this paper, we describe how the employment of tablets at the point of data collection, as the last link in an entirely digital workflow, has revolutionised not just the excavation, post-ex, and publication process, but also how we communicate at PARP:PS. Using our experiences as a case study, we aim to address not only the likely benefits that come out of our preference for asynchronous communication, but also the potential problems associated with this increased ease of contact as well as our experiences overcoming these issues. These concerns are not unique to PARP:PS, and thus, we hope to engage in a discussion of how the implementation of constantly evolving technologies influences archaeological practice, collaboration, and dialog in our discipline more broadly.
Harbors and ports are prominent in descriptions of Roman wall painting both by Vitruvius, in De A... more Harbors and ports are prominent in descriptions of Roman wall painting both by Vitruvius, in De Architectura, and by Pliny, in Naturalis Historia. They are described as common in corridors and in open terraces, but there is little information provided in either text as to their spatial surroundings or the social significance of this imagery. Much like the well-studied subject of maritime villas, harbors in Roman wall painting depict the interaction of constructed, organized space and wild, untamed nature. Vitruvius specifically lists “harbors” first when describing
the many subjects found in landscape painting from the mid to late first century B.C.E., indicating the conceptual overlap between natural and anthropogenic space. The focus of the texts and the surviving evidence both indicate that these images were commonly found in domestic spaces; however, we wish to further evaluate the significance of where these images can be found within these spaces. Considering how and where the Romans positioned these images and whether there are changes to these patterns over time gives us insight with which to draw better conclusions as to how people thought about the places they inhabited, how they perceived their world.
In this paper, we examine harbor imagery from Roman-era domestic space around the Bay of Naples—a wide range of images from the villas at Oplontis and Stabiae and the houses of Pompeii and Herculaneum provide a contextual frame-
work with which we can begin to derive patterns in the style of depiction and location of harbor scenes. We analyze changes in the space and place of these images over the traditional four periods of Pompeian wall painting while at the same time applying the methods of space syntax and visibility analysis to better understand how these images were presented, viewed, and experienced in combination with the rest of the domestic interiors. Placing these images back on the walls and into the spaces where they were experienced, as well as within the dynamic economic and political context of the Roman empire at the time, allows us to explore changing perceptions of the functional space of harbors and domestic decoration using
an integrated approach.
Talks by Gregory Tucker
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Papers by Gregory Tucker
Conference Presentations by Gregory Tucker
Employing a completely digital workflow at the Pompeii Archaeological Research Project: Porta Stabia (PARP:PS) since 2010, we have observed that our approach has changed not only how we collect and employ data, but also how we interact with each other. We discuss results and interact with one another in different ways than before, with new expectations of what is possible in the field. Both specific details and synthetic ideas are able to be shared and collaboration takes place more quickly than ever thanks to our digital approach. Constant availability of digitally curated data has fostered an environment where asynchronous communication between team members is possible and, in many ways, preferred.
In this paper, we describe how the employment of tablets at the point of data collection, as the last link in an entirely digital workflow, has revolutionised not just the excavation, post-ex, and publication process, but also how we communicate at PARP:PS. Using our experiences as a case study, we aim to address not only the likely benefits that come out of our preference for asynchronous communication, but also the potential problems associated with this increased ease of contact as well as our experiences overcoming these issues. These concerns are not unique to PARP:PS, and thus, we hope to engage in a discussion of how the implementation of constantly evolving technologies influences archaeological practice, collaboration, and dialog in our discipline more broadly.
the many subjects found in landscape painting from the mid to late first century B.C.E., indicating the conceptual overlap between natural and anthropogenic space. The focus of the texts and the surviving evidence both indicate that these images were commonly found in domestic spaces; however, we wish to further evaluate the significance of where these images can be found within these spaces. Considering how and where the Romans positioned these images and whether there are changes to these patterns over time gives us insight with which to draw better conclusions as to how people thought about the places they inhabited, how they perceived their world.
In this paper, we examine harbor imagery from Roman-era domestic space around the Bay of Naples—a wide range of images from the villas at Oplontis and Stabiae and the houses of Pompeii and Herculaneum provide a contextual frame-
work with which we can begin to derive patterns in the style of depiction and location of harbor scenes. We analyze changes in the space and place of these images over the traditional four periods of Pompeian wall painting while at the same time applying the methods of space syntax and visibility analysis to better understand how these images were presented, viewed, and experienced in combination with the rest of the domestic interiors. Placing these images back on the walls and into the spaces where they were experienced, as well as within the dynamic economic and political context of the Roman empire at the time, allows us to explore changing perceptions of the functional space of harbors and domestic decoration using
an integrated approach.
Talks by Gregory Tucker
Employing a completely digital workflow at the Pompeii Archaeological Research Project: Porta Stabia (PARP:PS) since 2010, we have observed that our approach has changed not only how we collect and employ data, but also how we interact with each other. We discuss results and interact with one another in different ways than before, with new expectations of what is possible in the field. Both specific details and synthetic ideas are able to be shared and collaboration takes place more quickly than ever thanks to our digital approach. Constant availability of digitally curated data has fostered an environment where asynchronous communication between team members is possible and, in many ways, preferred.
In this paper, we describe how the employment of tablets at the point of data collection, as the last link in an entirely digital workflow, has revolutionised not just the excavation, post-ex, and publication process, but also how we communicate at PARP:PS. Using our experiences as a case study, we aim to address not only the likely benefits that come out of our preference for asynchronous communication, but also the potential problems associated with this increased ease of contact as well as our experiences overcoming these issues. These concerns are not unique to PARP:PS, and thus, we hope to engage in a discussion of how the implementation of constantly evolving technologies influences archaeological practice, collaboration, and dialog in our discipline more broadly.
the many subjects found in landscape painting from the mid to late first century B.C.E., indicating the conceptual overlap between natural and anthropogenic space. The focus of the texts and the surviving evidence both indicate that these images were commonly found in domestic spaces; however, we wish to further evaluate the significance of where these images can be found within these spaces. Considering how and where the Romans positioned these images and whether there are changes to these patterns over time gives us insight with which to draw better conclusions as to how people thought about the places they inhabited, how they perceived their world.
In this paper, we examine harbor imagery from Roman-era domestic space around the Bay of Naples—a wide range of images from the villas at Oplontis and Stabiae and the houses of Pompeii and Herculaneum provide a contextual frame-
work with which we can begin to derive patterns in the style of depiction and location of harbor scenes. We analyze changes in the space and place of these images over the traditional four periods of Pompeian wall painting while at the same time applying the methods of space syntax and visibility analysis to better understand how these images were presented, viewed, and experienced in combination with the rest of the domestic interiors. Placing these images back on the walls and into the spaces where they were experienced, as well as within the dynamic economic and political context of the Roman empire at the time, allows us to explore changing perceptions of the functional space of harbors and domestic decoration using
an integrated approach.