In the Roman world technologies were limited to small, scattered social groups. By examining five technologies: lists, tables, weights and measures, artistic perspective, and mapping, this book shows how the Romans broke up a world we might have imagined them to unite. This study combines detailed readings of a wide variety of evidence (inscriptions, small archeological finds, artworks, literary texts) with theoretical consideration of the social, cognitive, and material contexts for their use to present a unique portrait of Roman computing capabilities, limitations, and habits.

Today's information technology often seems to take on a life of its own, spreading into every part of our lives. In the Roman world things were different. Technologies were limited to small, scattered social groups. By examining five technologies-lists, tables, weights and measures, artistic perspective, and mapping-Mosaics of Knowledge demonstrates how the Romans broke up a world we might have imagined them to unite. That is, the recording, storage, and recall of information in physical media might be expected to bind together persons distant in time and space. More often than not, however, Roman instances serve to create or reinforce the isolation of particular groups. Persons in different "locations"- whether those are geographical, social, or occupational-had access to quite different informational resources, and the overall situation is thus not controlled by the needs of any particular class or group. On the one hand, these constraints on use in turn constrain the development and power of individual technologies. Development is slow, scattered, and far from one-directional. On the other, seeming technological weaknesses can turn out to be illusory if we set them in actual use-contexts. Romans deploy no more but also no less "computing" power than needed for very narrowly defined goals. This study combines detailed readings of a wide variety of evidence (inscriptions, small archeological finds, artworks, literary texts) with theoretical consideration of the social, cognitive, and material contexts for their use to present a unique portrait of Roman IT capabilities, limitations, and habits.

A beginning yet thorough mosaic course with master mosaic artist Aureleo Rosano of Tucson, Arizona. Lessons and explanations about glass, grout, surfaces and techniques, with a bit of history and some cultural moments. Full color photos and demonstrations throughout.

An indispensable compendium of essential know-how, inspirational projects, and troubleshooting tips Just like having a mosaic tutor on call 24 hours a day-this book is packed with handy, timesaving tips, trade secrets, templates, projects, and technical knowledge to improve your skills, speed up the learning process, and help you make unique mosaics with a professional finish. Easy-to-follow step-by-step techniques, photography, and illustrations. Professional quick fixes and solutions for commonly encountered problems. Advice on what to buy and how to use the tools and materials-from stained glass to pebbles, shells, and beads. Tips on design-finding ideas, order of work, and adding eye-catching details-as well as handy templates to allow you to create stylish mosaics straight away. Book jacket.

The nine turquoise mosaics from Mexico are some the most striking pieces in the collections of the British Museum. Among the few surviving such artifacts, these exquisite objects include two masks, a shield, a knife, a helmet, a double-headed serpent, a mosaic on a human skull, a jaguar, and an animal head. They all originate from the Mixtec and Aztec civilizations first encountered by Europeans during the Spanish conquest in the early sixteenth century. The mosaics have long excited admiration for their masterful blend of technical skill and artistry and fascination regarding their association with ritual and ceremony. Only recently though, have scientific investigations undertaken by the British Museum dramatically advanced knowledge of the mosaics by characterizing, for the first time, the variety of natural materials that were used to create them. Illustrated with more than 160 color images, this book describes the recent scientific findings about the mosaics in detail, revealing them to be rich repositories of information about ancient Mexico. The materials used to construct the mosaics demonstrate their makers' deep knowledge of the natural world and its resources. The effort that would have been involved in procuring the materials testifies to the mosaics' value and significance in a society imbued with myths and religious beliefs. The British Museum's analyses have provided evidence of the way that the materials were prepared and assembled, the tools used, and the choices that were made by artisans. In addition, by drawing on historical accounts including early codices, as well as recent archaeological discoveries, specialists have learned more about the place of the mosaics in ancient Mexican culture. Filled with information about the religion, art, and natural and cultural history as well as the extraordinary ability of modern science to enable detailed insight into past eras, Turquoise Mosaics from Mexico offers an overview of the production, utilization, and eventual fate of these beautiful and mysterious objects.

Built on the southwestern coast of Cyprus in the second century A.D., the House of Dionysos is full of clues to a distant life—in the corner of a portico, shards of pottery, a clutch of Roman coins found on a skeleton under a fallen wall—yet none is so evocative as the intricate mosaic floors that lead the eye from room to room, inscribing in their colored images the traditions, aspirations, and relations of another world. In this lavishly illustrated volume, Christine Kondoleon conducts us through the House of Dionysos, showing us what its interior decoration discloses about its inhabitants and their time. Seen from within the context of the house, the mosaics become eloquent witnesses to an elusive dialogue between inhabitants and guests, and to the intermingling of public and private. Kondoleon draws on the insights of art history and archaeology to show what the mosaics in the House of Dionysos can tell us about these complex relations. She explores the issues of period and regional styles, workshop traditions, the conditions of patronage, and the forces behind iconographic change. Her work marks a major advance, not just in the study of Roman mosaics, but in our knowledge of Roman society.

As the Roman Empire expanded its African settlements in the early centuries of the common era, thousands of mosaic floor pavements were fashioned to adorn the townhouses and rural estates of the African upper classes. Between the second and sixth centuries, mosaic art blossomed, particularly in Africa Proconsularis, the region comprising modern Tunisia. In contrast to the official art of imperial Rome, mosaics generally expressed the worldviews of private citizens. These artworks are remarkable for the intricate beauty of their polychromatic geometric and floral designs, as well as for figural scenes depicting the interests and activities of the patrons who commissioned them--scenes of daily life, athletic contests, gladiator spectacles, and classical literature and mythology. Abundantly illustrated throughout, Tunisian Mosaics: Treasures from Roman Africa offers the general reader a lively introduction to this extraordinary ancient art. Initial chapters survey the historical background of Roman Africa and discuss the development of mosaic art in the Mediterranean. Subsequent chapters profile Tunisia's major mosaic sites and tour the collections of important museums. A final chapter surveys current initiatives to preserve this heritage for future generations.