id	author	title	date	pages	extension	mime	words	sentences	flesch	summary	cache	txt
work_noa7tyklx5dwblb7w6ge7y444a	Linda M. Rodriquez	Collaborating with Aponte: Digital Humanities, Art, and the Archive	2019	16	.pdf	application/pdf	7878	541	64	that Aponte had shown the book to his coconspirators, explaining some of its images 56–85; Jorge Pavez Ojeda, "Painting of Black History: The Afro-Cuban Codex of José Antonio Aponte (Havana, Cuba, transcript of the part of Aponte's trial devoted to his book of paintings. of the judicial officials questioning Aponte as to the contents of his book of paintings. Thus the glorious black history pictured in Aponte's book and so visible to the eyes of all who saw its production before presenting Aponte's actual descriptions of his book ("Láminas"). archival record in conversation with Aponte as an intellectual and artist. http://aponte.hosting.nyu.edu/havana-visual-culture/ http://aponte.hosting.nyu.edu/book-of-paintings/ http://aponte.hosting.nyu.edu/book-of-paintings/ Aponte's book of paintings was a visual artifact, one we cannot see. In the absence of Aponte's book, fifteen artists have used the Collaborating with Aponte: Digital Humanities, Art, and the Archive Collaborating with Aponte: Digital Humanities, Art, and the Archive Collaborating with Aponte: Digital Humanities, Art, and the Archive	./cache/work_noa7tyklx5dwblb7w6ge7y444a.pdf	./txt/work_noa7tyklx5dwblb7w6ge7y444a.txt