For the past year and half, I have written extensively about the appropriation of ancient symbols, texts, and material culture…
Redesigning WOAH: Women of Ancient History
For a long time now, I have been interested in the ways in which digital humanities projects can be used…
‘We Regret to Inform You’: Success, Failure, and the Shadow C.V.
Pinned to the board above my desk in my office is an Apollo 13 postcard that reads: “Failure is not…
A Reversed Perspective: Looking at Greek and Roman Art from Behind(s)
A few weeks ago, I began to ponder the ways in which Greek and Roman art is presented within the…
Digitization ≠ Repatriation: When Digital Humanities Provides Access But Not Restitution
This week over at Hyperallergic, I wrote about new exhibits at the British Library and the Victoria & Albert Museum which…
The Color of the Other: Importing Multi-colored Marble and Roman Constructions of the “Barbarian”
This week over at Hyperallergic, Sean Burrus and I published a co-written article on the use of variegated marbles (which have particolored…
The Gospel of Unicode: Digital Love Letter(s) and Art Through Numbers
Over at Hyperallergic this week, I discuss the proposed release of over 2,000 Hieroglyphs into Unicode by 2020 or 2021. …
Labeling Ancient and Modern Slavery within Museums
Over at Hyperallergic this week, I had an essay come out that was about four months in the making. It…
Before MAGA: Mithras, Phrygian Caps, and the Politics of Headwear
My latest piece for Hyperallergic addresses the long history of red caps as symbols of politics, ethnicity, and identity. From Mithras to…
Anno Domini: Computational Analysis, Antisemitism, and the Early Christian Debate Over Easter
This post was originally published at the SCS Classics blog on March 30, 2018. In the 6th century CE, a…
