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Art, process, archaeology

This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a New Materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognise the dynamic and changeable character of images.

Abstract only
Ian Dawson

cultural heritage industries to record historical artefacts and objects of archaeological interest. Concealed pockmarks on carvings can be reanimated (Jones and Smith 2017) as the technology accentuates the perception of surface deformations. The realism of the image enhanced through a process of interreflection (Malzbender et al. 2001) as jpg and pixel information is converted to a synthetic polynomial texture map. The customary RTI process involves taking multiple photographs from a static digital camera installed upon a tripod, upwards of seventy shots from a single

in Images in the making
Fredrik Fahlander

. (2016). ‘Embodiment, transformation and ideology in the rock art of Trans-Pecos Texas’, Cambridge Archaeological Journal 26 (2), 217–41. Harman, G. (2015). ‘Art and OOObjecthood (a conversation with Christoph Cox and Jenny Jaskey)’, in C. Cox, J. Jaskey and S. Malik (eds), Realism, Materialism, Art. Berlin: Sternberg Press (pp. 97–116). Hodgson, D. (2003). ‘Seeing the “unseen”: fragmented cues and the implicit in Palaeolithic Art’, Cambridge Archaeological Journal 13 (1), 97–106. Holl, A. (2002). ‘Time, space, and image making: rock art from the Dhar Tichitt

in Images in the making
James Clifford

liked the conference title because of its invocation of Walter Benjamin and the problematic of translation, which in his famous essay ‘The Task of the Translator’ is fundamentally a temporal and open-ended process. For Benjamin, of course, the discordant times of the past would be activated and ‘made new’ by a critical-materialist form of historicising that could challenge and open up closed narratives, the inevitable realisms of the victors.2 I believe that what is going on currently in museums has the potential to make this kind of critical intervention. For the

in Curatopia
Rick Peterson

network of interactions between all these things. 68 Neolithic cave burials This broad idea has become increasingly influential within archaeology over the last 15 years in a variety of different theoretical approaches, such as symmetrical archaeology (Shanks 2007), relational realism (Fowler 2013), assemblage theory (Robinson 2017), embodied ‘affects’ (Mlekuž  2011) and ‘new materialism’ (Conneller 2010), all of which have been grouped together as examples of the ‘post-humanist’ turn in archaeological thinking (Harris and Cipolla 2017, 129–149). I will review the

in Neolithic cave burials
Catherine J. Frieman

break with traditional ways of painting the human form. This almost exaggerated realism – especially when juxtaposed with nearby paintings of people and bodies that lack it entirely – was restricted to depictions of Europeans, according to information provided by a senior Traditional Owner to Sally K. May (Frieman and May 2019 ), and may have been portraits of real people known to the painters, or images copied from tobacco tins or other figurative drawings. Yet, despite the flurry of new motifs and art-making practices, at Djulirri, this phase of adoption was

in An archaeology of innovation
Setting the scene
Roger Forshaw

for the building of a new barque, a journey in which Wenamun is beset by many difficulties. This engaging tale, although incomplete, is skilfully related and is a vivid and descriptive narrative of Egypt during the late New Kingdom and early Third Intermediate Period. Opinions of scholars are divided as to whether it is a genuine historical document or a literary fiction of remarkable realism.13 Whatever its category, the tribulations of Wenamun reflect the decline in Egypt’s international standing during the last years of the New Kingdom and the beginning of the 21

in Egypt of the Saite pharaohs, 664–525 BC
The permeable clusters of Hanna Rydh
Elisabeth Arwill-Nordbladh

), the notion of Arjun Appadurai’s (1986) social life of things and Alfred Gell’s secondary agency (1998), and more ROBERTS 9781526134554 PRINT.indd 148 03/12/2019 08:56 When the modern was too new149 recently the agential realism of Karen Barad (2003) and the material symmetry of Bjørnar Olsen (2010). Even if there are considerable theoretical differences between these perspectives, they share the idea that human agency and material phenomena’s agential capacity connect in inter- and intra-relational dynamics in various ways, on various agential levels and with

in Communities and knowledge production in archaeology