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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.

From Samoa with Love? at the Museum Fünf Kontinente, Munich
Hilke Thode-Arora

that the programme of the opening ought to be rigidly official, with only classical music, but no Samoan music or dance as these could give the impression of restaging an ethnic show today. On the day of the opening, a large group of Samoans from Germany, Austria and Switzerland arrived to honour the head of state as well as the Samoan delegation, and to show their support for the exhibition. When they heard of the restrictions, they decided to counteract with their own agenda. In order to not get the museum into trouble because of the state officials’ specifications

in Curatopia
Carol Andrews

the Eye was any of the various lion goddesses, all of whom had a fierce side to their character: Sekhmet, Menhyt, Mehit, Mut, Tefnut and Wadjyt were among their number. Even the apparently docile cat-headed Bastet, usually depicted with kittens emblematic of her fertility at her feet and sistrum and menyet for music-making and festivity in her hands, had a lion-headed form when she too embodied the sun’s vengeful Eye. It is because of this savage aspect of all these goddesses that, even though their usual form might be otherwise, when embodying the Eye they were

in Mummies, magic and medicine in ancient Egypt
Learning from experiment and experience
Rosalind Janssen

farming and gardening, furniture making, stone working, writing and painting, and food and beer preparation were set alongside various leisure pursuits: personal hygiene, music and musical instruments and the world of play. The practical craft making drew its inspiration from the University of Swansea’s ‘Experiment and Experience: Ancient Egypt in the Present’ conference (10–12 May 2010) (Graves-Brown 2015), which was made available to a wider audience by streaming the proceedings online.1 Participants were encouraged to include physical demonstrations to support their

in Mummies, magic and medicine in ancient Egypt
Jette Sandahl

Mumie Trolls music video, within the section called Hope in the exhibition No Name Fever: HIV-Aids in the Age of Globalization at the Museum of World Culture, Gothenburg, Sweden, 2005. 77 78 Europe This contemporary approach to ethnography opened up themes like HIV-AIDS and human trafficking, which are global in character and scope, but act and manifest themselves in local, class and gender-specific ways, and which can only be adequately addressed within a profoundly interdisciplinary framework. The complexities and interconnectedness of contemporary society defy

in Curatopia
Abstract only
Catherine J. Frieman

archaeological record from periods beyond hundreds of thousands of years old, but also by a discourse around creativity and humanity that emerged in the nineteenth century and positioned modern humans – Homo sapiens : the wise humans – as uniquely innovative among the members of our genus. Art, music, language, and social organization were all associated with H. sapiens and presented in contrast to the obviously disconcerting Neanderthals. Over a series of publications in the 1990s, Stephanie Moser illustrated how depictions of Neanderthals and other non-human hominins

in An archaeology of innovation
The carved stone balls of Northeast Scotland
Andrew Meirion Jones

://news.nationalgeographic.com/ news/2010/12/101210-stonehenge-balls-ball-bearings-science-rolled/web page. Accessed 12 March 2015. Reimann, D.A. (2014). ‘Art and symmetry of Scottish carved stone balls’, Proceedings of Bridges 2014: Mathematics, Music, Art, Architecture, Culture, 441–4. Roddick, A.P. and A.B. Stahl. (2016). Knowledge in Motion: Constellations of Learning across Time and Place. Tucson: The University of Arizona Press. Sheridan, A. and K. Brophy. (2012). ScARF Neolithic Panel Report. Scottish Archaeological Research Framework: Society of Antiquaries of Scotland. www

in Images in the making
Learning from Māori curatorship pastand present
Conal McCarthy, Arapata Hakiwai, and Philipp Schorch

beyond categories such as colonial and even postcolonial, as well as traditional notions of Indigeneity, towards what the anthropologist Jeffrey Sissons has called ‘postindigenous’.39 In the cultural sphere, as Hakiwai’s PhD thesis demonstrates, the same resilience, tenacity and dynamism is apparent in programmes for music, language, visual arts and heritage, all of which shape and are shaped by the evolving identity of 219 220 Pacific Ngāi Tahu people.40 Hana O’Regan, for example, sees her Ngāi Tahu identity as constantly shifting and relational: ‘identity is

in Curatopia
John H. Taylor

invalidate the general idea that the recipients of such dedications may have been persons who could not aspire to the full paraphernalia of formal burial, and that a key function of the objects was to enable these individuals to partake of the benefits of the funerary cult through another medium. Harco Willems has developed the idea further, suggesting that the ‘stick’ shabtis in miniature coffins may have been brought to tombs and dedicated to the deceased in the context of mortuary festivities which included music and feasting, a practice which may possibly have lain at

in Mummies, magic and medicine in ancient Egypt
Open Access (free)
Jes Wienberg

– may be ascribed to modernity. Historians of ideas may stress the importance of science, school education, and religion; historians of technology will speak about the steam engine, railways, and electricity; physicists about the theories of relativity; sociologists about rationality, bureaucracy, and social acceleration; economists about the market economy; historians of architecture, art, literature, or music about experiments with form; human ecologists about the relationship between humans and nature; historians about historical thinking; and archaeologists about

in Heritopia