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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.

The changing role of migration museums in Australia
Andrea Witcomb

practices are not key to a pedagogy of feeling. What is key is the form of display which reflects the self through the other. In other words, the form of interactivity on offer is a reflection on the ‘self’ or ‘us’, rather than an insight into the other. This is done through a focus on people’s emotions. Applicants are presented in a mise-en-scène that encourages eye-to-eye contact, or some form of bodily sensation or connection so as to establish a sense that direct communication is going on, that there is a conversation happening. This intense form of sensory engagement

in Curatopia
Abstract only
Tangible engagements in the making and ‘remaking’ of prehistoric rock art
Lara Bacelar Alves

both logic and intuition as equally valid in the act of creation (Rodríguez and Athayde 2014: 8). The intricate network of references, desires and sensations underlying the poetics of Kandinsky’s art (2014: 18) touches, to some extent, the main quests that shape our analysis, fieldwork and interpretation of Iberian rock art, resting upon three interconnected lines of approach: Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated

in Images in the making
Vilsoni Hereniko

creations would be destroyed or left outside to rot. The focus, after all, was not on the objects themselves, but on shared memories, feelings and emotions, as well as human connections, all of which are intangible. When visitors to Oceania – missionaries, traders, sailors, administrators, visiting dignitaries and so on – started to collect or hoard these sacred objects, attention shifted from the intangible to the tangible, resulting in these objects becoming valuable items for sale in the marketplace. Now some of them fetch millions of dollars as they are auctioned off

in Curatopia
Curatorial bodies, encounters and relations
Noelle M.K.Y. Kahanu, Moana Nepia, and Philipp Schorch

alo aˉ he alo / kanohi ki te kanohi 18.6  Native Hawaiian chanters, led by Keali‘i Gora, leading opening proceedings for the Binding and Looping: Transfer of Presence in Contemporary Pacific Art exhibition, 5 October 2014. Coda: Curatopia face-to-face There is a growing body of literature in anthropology, museum studies and related fields that draws attention to more nuanced dimensions of the human experience, such as senses, feelings, emotions, affect and embodiment.37 Attending to these qualities while working on this book, which is devoted to curatorial

in Curatopia
Remaking the ethnographic museum in the global contemporary
Viv Golding and Wayne Modest

and emotions with the ‘terrible gift’ of the past, to employ Roger Simon’s term.21 When we as curators or as audiences accept this terrible gift, we are impelled to take responsibility for the future and act at local and global levels. Pedagogy in the prison museum is informed by feminism and philosophical thought that addresses power hierarchies. It promotes the museum as a site of what Éduoard Glissant terms affective relation.22 This pedagogic praxis understands the museum as a creolised and affective multilingual space where respectful conversations raise the

in Curatopia
Open Access (free)
Displaying the dead
Melanie Giles

often express conflicted emotions: ‘There is no relationship between us and these displayed dead and that lack of relationship makes it futile: in fact, it emphasises the dead as objects, as nothing to do with us’ (from the ‘No, We Should Not Display Human Remains’ section of Alberti et al. 2009 : 138). This is a stinging point. In Chapter 3 , I argued that it is not so much the material authenticity of archaeological remains that can generate the ineffable, enchanting and haunting encounter that connects people in the present with people from the past, but the

in Bog bodies
Abstract only
Ing-Marie Back Danielsson and Andrew Meirion Jones

. Deleuze, G. and Guattari, F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia. London: Continuum. Derrida, J. (1993). The Postcard. Chicago, IL: Chicago University Press. Elkins, J. (2011). What Photography Is. London: Routledge. Gell, A. (1998). Art and agency: An Anthropological Theory. Oxford: Clarendon. Gosden, C. and L. Malafouris. (2015). ‘Process Archaeology (P-Arch)’, World Archaeology 47 (5), 701–17. Harris, O.J.T. and T.F. Sørensen. (2010). ‘Rethinking emotion and material culture’, Archaeological Dialogues 17 (2), 145–63. Holbraad, M. and M

in Images in the making
Fredrik Fahlander

fragmented and partial is none the less similar, despite different mediality and complexity. The closest analogy is perhaps the way in which modern marketing works with fragmented logos in order to generate the attention of the consumer and promote certain positive aspects of the company. Intentional or not, the ‘partial effect’ in Bronze Age rock art may indeed initiate both emotions and secondary actions. Partial motifs can catch the attention, incite anxiety and confusion, or evoke curiosity and promote completion or other secondary actions. The incomplete motifs have

in Images in the making
Re-thinking Ludwik Fleck’s concept of the thought-collective according to the case of Serbian archaeology
Monika Milosavljević

develops disdain for the members of other thought-collectives. They are strangers, believing in other gods, using unfamiliar words and unreliable concepts. According to Fleck, emotions play a large role in the function of scientific communities. In a researcher, they often inspire ROBERTS 9781526134554 PRINT.indd 19 03/12/2019 08:56 20 Communities and knowledge production in archaeology dedication through participation in a given mission and accentuating the significance of initiation into the research circle. It is possible to distinguish democratic thought

in Communities and knowledge production in archaeology