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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
Ing-Marie Back Danielsson and Andrew Meirion Jones

experimentation. By contrast, if we consider the image as a condition of possibility then images might be better considered as mapping the world. Mapping involves probing forwards, exploring the world, gesturally establishing possible connections, intersections and relationalities. This characterisation resonates with both Jacques Derrida’s (1993) and John Berger’s (2005) discussion of drawing and mark making. Derrida points out the essentially blind character of the act of drawing. Decisions regarding the outcome of the mark are taken the moment the mark maker encounters the

in Images in the making
Scandinavian Late Iron Age gold foil figures through the lens of intra-action
Ing-Marie Back Danielsson

constant flux and becoming, but in a different way. Dealing with their future generations, here referring to the fact that we have generated alternative renderings of the gold foil figures, it is rather the hauntological versions of the figures that are in constant becoming and flux. Hauntology as a concept comes from Derrida (1994) and it has been elaborated upon by Karen Barad (2010: 253). She uses it to highlight how the production of specific material-discursive beings, when brought about, simultaneously excludes other phenomena. These exclusions then haunt the

in Images in the making
Open Access (free)
Antonín Salač and the French School at Athens
Thea De Armond

Jacques Derrida’s Of Grammatology (De la grammatologie). 61 MÚA AV ČR, Antonín Salač, inventory 410, box 6, draft of letter from Antonín Salač to Marie de Lacroix, n.d. 62 Légion d’honneur. 63 ‘Mnichovská zrada’. 64 ‘[L]es gens comme moi, ici, jouent les Cassandre.’ MÚA AV ČR, Antonín Salač, inventory 410, box 21, letter from Charles and Gilbert-Charles Picard to Antonín Salač, 10 November 1938. 65 ‘[J]e ne pleure pas, je travaille... Ce que je sens pour votre patrie, ce n’est pas une haine, mais – pardonnez moi le mot cruel – plutôt une pitié. Pauvre France

in Communities and knowledge production in archaeology
Open Access (free)
Clusters of knowledge
Julia Roberts and Kathleen Sheppard

opened up the history of archaeology and revealed so much more about our past. In recent years archives have become a focus of critical histories with archaeologists debating both what constitutes an archive and how it should be utilised (Schlanger and Nordbladh, 2008; Lucas, 2012; see also Derrida and Prenowitz, 1995; Ketelaar, 2001; Manoff, 2004). There are practical and chronological histories of institutions, societies, museums, fieldwork, archaeological theories and archaeological sites. In recent years, more theoretical histories have been written, drawing on

in Communities and knowledge production in archaeology