death on a previously unimaginable scale. The falcon – new technologies and sciences, in this instance – certainly seemed to have flown out of earshot of its falconer.
It was during these same interwar years that economist Joseph Schumpeter began forming the theories of entrepreneurship, capitalism, and the business cycle that have become core texts in our innovation discourse. Erwin Dekker ( 2018 ) positions Schumpeter as a member of the avant garde : a Futurist fascinated by the dynamism and possibilities of radical technological change but rendered pessimistic
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.
decay and ruin has followed the cycles of car production (e.g. www.camilojosevergara.com).
Here the concrete remains of Benjamin’s “storm” and Schumpeter’s “creative destruction” are used as moral reminders of the failures of progress, of the impermanence of modernity and ideologies, and of the consequences of capitalism and neoliberalism. This field with its doom-laden book titles demonstrates a neo-Romantic fascination with decay which is quite as intense as the romantic notions about ruins that were rife in the nineteenth century. And at the heart of the field
Post-connoisseurial dystopia and the profusion of things
Sharon Macdonald and Jennie Morgan
spatially universal. In many
ways, this is a utopian worldview; it is a hope for an impossible form of
collecting. This impossibility is in part a function of economistic ways of
looking at collections, which may be part of a new spirit of capitalism that
financialises everything.34 This way of seeing regards utopian, ubiquitous
collecting as simply too expensive. And what is deemed too expensive is
also, in this particular logic, regarded as irrational. Yet what we have heard
in curators’ own words, and seen in their struggles to tidy their desks and
from the social sciences and framed by the short history of capitalism form the core of this discourse; and many archaeologists, whose material often derives from far earlier periods or regions largely unaffected (at least at the outset) by capitalist relations or industrial production, draw on it relatively uncritically. I start by examining the impact of applying a historic, Eurocentric model of innovation to non-Europeans, in this case Aboriginal people from Iutruwita (Tasmania) and their society. This case study allows me to draw out the innately political core
vision, on days when the glass seems half-full. But
it is far from guaranteed. Post-ethnological museums face serious obstacles.
They struggle to resist powerful pressures for purification, for uncomplicated messages, for a return to simpler times. Post-ethnological museums,
in Europe and North America, aspire, in their different national contexts,
to transcend colonial pasts. But they have limited room to manoeuvre,
constrained as they are by funding cuts, neo-liberal governments and
marketing, all structural features of contemporary capitalism. There is also
Ing-Marie Back Danielsson and Andrew Meirion Jones
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Scandinavian Late Iron Age gold foil figures through the lens of
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