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.
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
Scandinavian Late Iron Age gold foil figures through the lens of
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
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
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