%% Books
@book{fds305892,
Author = {M. Olson and Erin Ennis and Zoe Marie Jones and Paolo Mangiafico and Jennifer
Rhee, Mitali Routh and Jonathan E. Tarr and Brett
Walters},
Title = {Electronic Techtonics: Thinking at the Interface},
Publisher = {HASTAC},
Editor = {Olson, MJ and Ennis, E and Jones, ZM and Mangiafico, P and Rhee, J and Routh, M and Tarr, J and Walters, B},
Year = {2008},
url = {http://www.lulu.com/content/2124631/},
Abstract = {This volume originated in HASTAC’s first international
conference, “Electronic Techtonics: Thinking at the
Interface,” held at Duke University during April 19-21,
2007. “Electronic Techtonics” was the site of truly
unforgettable conversations and encounters that traversed
domains, disciplines, and media – conversations that
explored the fluidity of technology both as interface as
well as at the interface. This hardcopy version of the
conference proceedings is published in conjunction with its
electronic counterpart (found at www.hastac.org). Both
versions exist as records of the range and depth of
conversations that took place at the conference. Some of the
papers in this volume are almost exact records of talks
given at the conference, while others are versions that were
revised and reworked some time after the conference. These
papers are drawn from a variety of fields and we have not
made an effort to homogenize them in any way, but have
instead retained the individual format and style of each
author.},
Key = {fds305892}
}
%% Papers Published
@article{fds375250,
Author = {Olson, M},
Title = {Interactive exhibitions New interfaces for engaging
visualizations},
Pages = {92-99},
Booktitle = {VISUALIZING VENICE: MAPPING AND MODELING TIME AND CHANGE IN
A CITY},
Year = {2018},
ISBN = {978-1-138-28599-6},
Key = {fds375250}
}
@article{fds341421,
Author = {Olson, M and Giordano, A},
Title = {Visualizing Venice: Developing a methodology for historical
visualization},
Pages = {20-25},
Booktitle = {Visualizing Venice: Mapping and Modeling Time and Change in
a City},
Publisher = {Routledge},
Editor = {Huffman, K and Giordano, A and Bruzelius, C},
Year = {2017},
ISBN = {978-1138285996},
url = {http://dx.doi.org/10.4324/9781315100685},
Doi = {10.4324/9781315100685},
Key = {fds341421}
}
@article{fds341420,
Author = {Olson, M},
Title = {Interactive Exhibitions},
Pages = {92-99},
Booktitle = {Visualizing Venice: Mapping and Modeling Time and Change in
a City},
Publisher = {Routledge},
Editor = {Huffman, KL and Giordano, A and Bruzelius, C},
Year = {2017},
ISBN = {978-1138285996},
url = {http://dx.doi.org/10.4324/9781315100685},
Abstract = {Curated exhibitions have long been the primary means by
which the work of historians of urban and material culture
has interfaced with the public. They are sites of
translation, where the relatively specialized knowledge of
experts meets an engaged public, sites where scholarship
becomes communication.},
Doi = {10.4324/9781315100685},
Key = {fds341420}
}
@article{fds227486,
Author = {Olson, MJV},
Title = {Hacking the humanities: Twenty-first-century literacies and
the ‘becoming-other’ of the humanities},
Pages = {237-250},
Booktitle = {Humanities in the Twenty-First Century: Beyond Utility and
Markets},
Publisher = {Palgrave Macmillan},
Editor = {Belfiore, E and Upchurch, A},
Year = {2013},
Month = {January},
ISBN = {9780230366657},
url = {http://www.palgraveconnect.com/pc/doifinder/10.1057/9781137361356.0021},
Abstract = {After a recent discussion with colleagues about the role of
‘practice’ in proposed revisions to our graduate
curriculum, I sat down and listed all of the different
practices that had consumed my time over the previous few
days, focusing on those that I would consider particular to
my work as a humanities scholar. Most of them likely would
be legible to the public as the kinds of work ‘humanities
people’ do: starting to read Becoming Undone, the latest
book by Elizabeth Grosz (2011) on Charles Darwin, and then
rereading parts of Marx’s Grundrisse in preparation for an
upcoming conference presentation on Marxism and New Media;
revising (again) the third chapter for my book manuscript,
and sketching out an outline for this essay; preparing a
lecture on social memory and archives for an upcoming class;
and trudging through the IRB (institutional review board)
paperwork for a new ethnographic project involving medicine,
gender, and visual culture.},
Doi = {10.1057/9781137361356_13},
Key = {fds227486}
}
@article{fds327232,
Author = {Olson, MJV},
Title = {Hacking the humanities: Twenty-first-century literacies and
the ‘becoming-other’ of the humanities},
Pages = {237-250},
Booktitle = {Humanities in the Twenty-First Century: Beyond Utility and
Markets},
Publisher = {Palgrave Macmillan UK},
Year = {2013},
Month = {January},
ISBN = {9780230366657},
url = {http://dx.doi.org/10.1057/9781137361356_13},
Abstract = {© Palgrave Macmillan, a division of Macmillan Publishers
Limited 2013. After a recent discussion with colleagues
about the role of ‘practice’ in proposed revisions to
our graduate curriculum, I sat down and listed all of the
different practices that had consumed my time over the
previous few days, focusing on those that I would consider
particular to my work as a humanities scholar. Most of them
likely would be legible to the public as the kinds of work
‘humanities people’ do: starting to read Becoming
Undone, the latest book by Elizabeth Grosz (2011) on Charles
Darwin, and then rereading parts of Marx’s Grundrisse in
preparation for an upcoming conference presentation on
Marxism and New Media; revising (again) the third chapter
for my book manuscript, and sketching out an outline for
this essay; preparing a lecture on social memory and
archives for an upcoming class; and trudging through the IRB
(institutional review board) paperwork for a new
ethnographic project involving medicine, gender, and visual
culture.},
Doi = {10.1057/9781137361356_13},
Key = {fds327232}
}
@article{fds227484,
Author = {Olson, M and Sloop, J},
Title = {A Politics of Meaning in Rhetorical Studies},
Pages = {248-265},
Booktitle = {At the Intersection: Cultural Studies and Rhetorical
Studies},
Publisher = {Guilford Press},
Editor = {Rosteck, T},
Year = {1998},
ISBN = {9781572303997},
Key = {fds227484}
}
@article{fds227485,
Author = {Olson, M},
Title = {’Everybody Loves Our Town’: Scenes, Spatiality,
Migrancy},
Pages = {269-289},
Booktitle = {Mapping the Beat: Popular Music and Contemporary
Theory},
Publisher = {Blackwell},
Editor = {Swiss, T and Sloop, J and Herman, A},
Year = {1998},
ISBN = {978-1577180777},
Key = {fds227485}
}
%% Articles Published
@article{fds363122,
Author = {Schwartz, FR and Churchill, S and Ingold, R and Goknur, S and Gupta, D and Gladman, J and Olson, M and Tailor, TD},
Title = {The art of imaging methods—using cutting edge radiological
technology to uncover the secrets of ancient anatomical
figurines},
Journal = {Archaeological and Anthropological Sciences},
Volume = {13},
Number = {5},
Year = {2021},
Month = {May},
url = {http://dx.doi.org/10.1007/s12520-021-01312-5},
Abstract = {Ivory anatomical figurines are thought to have been carved
in Germany in the seventeenth or eighteenth century. While
it is speculated that these figurines were used for the
study of medical education, little is known about their
origins. A precise understanding of the composition of these
figurines may further provide knowledge about their purpose
and exact age. Our institution holds the largest North
American collection of these figurines. Our purpose was to
utilize micro-computer tomography (micro-CT) to determine
the composition of these figurines and discern whether these
figurines are made of “true” ivory (e.g., elephant or
mammoth tusk) or other ivory-like materials (e.g., whale
bone and antler). Scans of 22 figurines were performed on an
XT H 225 ST Nikon Micro-CT (mCT) scanner at 150–200 kV,
with an average exposure time of 267 ms, and slice thickness
of 40–80 μm. Axial micro-CT slices were evaluated for
Haversian canal structure/morphology to determine material
composition. micro-CT images were also evaluated for
materials other than ivory or bone that were not appreciable
by visual inspection. Out of 22 figurines, 20 were made of
ivory, one was made of antler, and one contained both ivory
and whale bone. Metallic components and/or fibers were found
in a minority of figurines. Twelve figurines contained
hinges or internal repairs. micro-CT can be used to discern
the composition of fragile archeological figurines and
assess for repairs or alterations. This information may
enable archeologists to draw conclusions regarding
objects’ age, origins, and possible uses.},
Doi = {10.1007/s12520-021-01312-5},
Key = {fds363122}
}
@article{fds342571,
Author = {Jaskot, P and Jacobs, H and Szabo, V and Olson, M and Triplett,
E},
Title = {Shaping the Discipline of Digital Art History: A recap of an
advanced summer institute on 3-D and (geo)spatial
networks},
Publisher = {The Iris: Behind the Scenes at the Getty},
Year = {2018},
Month = {December},
Key = {fds342571}
}
@article{fds227483,
Author = {Lanzoni, K and Olson, M and Szabo, V},
Title = {Wired! and Visualizing Venice: Scaling up Digital Art
History},
Journal = {Artl@s Bulletin},
Volume = {4},
Number = {1},
Pages = {20-39},
Year = {2015},
url = {http://docs.lib.purdue.edu/artlas/vol4/iss1/3/},
Abstract = {This article focuses on Visualizing Venice, an
interdisciplinary, cross-cultural collaboration that engages
in mapping, 3-D modeling, and multimedia representations of
historical change in Venice, Italy. Through a
“laboratory” approach that integrates students and
faculty in multi-year research teams, we ask new questions
and pursue emerging lines of inquiry about architectural
monuments, their relation to the larger urban setting, and
the role of sculptural and painted decoration in sacred
spaces. Our practice of digital art history transforms both
teaching and research and provides new means for
communicating knowledge to a broad public.},
Key = {fds227483}
}
