Search results

You are looking at 1 - 10 of 16 items for :

  • "transgression" x
  • Archaeology and Heritage x
  • All content x
Clear All
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.

Anthony Alan Shelton

transgressive effect. ‘By creating tensions between the colonial works and surroundings that are alien to them,’ he announced, ‘the museum becomes Baroque and behaves like the forms of Indigenous resistance to the colonial project’.41 Berndt Scherer, his German counterpart, agreed with this interpretation, describing the project as an ‘interesting experiment’ which brought out new insights and ultimately helps us to ‘learn to see the world anew from a fresh perspective’.42 The Potosí Principle rejected not only art’s avowed neutrality but all essentialised correlations

in Curatopia
The last Saite ruler, Psamtek III
Roger Forshaw

.30 These accusations of impiety, as well as transgressions against Egyptian culture, directed at Cambyses by Herodotus, together with the failed missions to Nubia and the oases, undoubtedly include an element of anti-Persian propaganda. Herodotus considered Cambyses unstable and mad, and the native Egyptian informants, primarily the priests whom Herodotus obtained his testimony from, would not necessarily have related the historical facts but instead distorted the events and resorted to exaggeration. They would have resented the curbing of the power of the temples

in Egypt of the Saite pharaohs, 664–525 BC
An epistemology of postcolonial debate
Larissa Förster and Friedrich von Bose

that we should not accept these limits and boundaries, but rather make them visible, contest them and eventually transgress them. The lack of a ‘culture of debate’ in the sense mentioned above, it seems, has its roots within the discipline of anthropology or ethnology, as well as in the reality of museum practice. To start with, direct criticism of each other’s exhibitions, for example, is generally not very common, as Boris Wastiau, currently director of the Musée d’ethnographie de Genève, has pointed out.17 This is particularly true for German-speaking ethnological

in Curatopia
James Clifford

, performance and translation, across generations, and across fraught borders of culture and place. It was a time when we were coming to see the borders of identity as dynamic, continually transgressed and remade, in specific historical relations of power, often unequal, but never static or unidirectional. Mary Pratt’s concept of the ‘contact zone’, drawn from colonial situations of dominance and transculturation, gave me a way of reconceiving the hierarchical, authoritative spaces of the Western museum. Readers may recall that the essay ‘Museums as Contact Zones’, which

in Curatopia
Upping the ontological ante of Alfred Gell’s anthropology of art through a focus on making
Benjamin Alberti

-term transformation of the Marquesan style ensued, were taken without deliberate reflection, but never without cognizance of a prevailing social context of social forms, pervaded by a dread of spiritual/political transgression’ (Gell 1998: 219). But in the case of Amazonian perspectivism, making the artworks ‘without deliberate reflection’ takes place not only within a guiding social or political framework, but also within an ontological framework that includes a much more complete array of entities. Even so, Gell’s initial point is useful: the connection lies at the level of

in Images in the making
Abstract only
Technique and the lives of objects in the collection
Samuel J.M.M. Alberti

Horie’s background was indicative of the shift in emphasis from technical skills to a self-consciously scientific approach. The new conservators considered themselves dedicated conservation professionals, tackling the welfare of the collections as a whole, and removing these responsibilities from the curatorial staff. Their new status transgressed the firm social boundaries of an institution in which technicians worked for collection-based keepers within distinct fiefdoms. Conservators set out to incorporate and formalise the craft practices inherited from their

in Nature and culture
Abstract only
Katherine Fennelly

doing nothing more harmful than taking on extra laundry for the single men they worked with (since they were not dismissed, any illicit practice can be discounted), such close fraternisation was not encouraged. A non-regulated and unrecorded activity was not considered to have a place within the asylum. However, evidence of resistance to this rigorous control of space and behaviour is not uncommon in the historical and archaeological record. Resistance to or the transgression of socially acceptable behaviours in an institutional context was

in An archaeology of lunacy
Jette Sandahl

antagonistic people who would not have met or interacted in any other space. But ‘the European vision of the world – or more precisely, perhaps the European vision of the universe, is a vision as remarkable for what it pretends to include as for what it remorselessly diminishes, demolishes, or leaves totally out of account’, admonished James Baldwin.19 The Museum of World Culture, and I, as the director of the museum, were no exceptions to this. We committed our share of cultural transgressions or cultural encroachments, and, while celebrating the achievements of the Museum

in Curatopia
Exhibiting pre-Indigenous belonging in Vancouver
Paul Tapsell

boundary between host and visitor, and the longterm negative effects if left un-negotiated or deliberately transgressed.23 Accessibility to ancestral belongings is one thing, but interpreting them to third-party visitors, especially on another kin group’s ancestral domain, is a whole new level of engagement, rights and responsibilities. My conversation with Ames in 1996, decades ago, explored this curatorial complexity of co-production and the not so subtle unwillingness of museum governance to share power with descendants on whose ancestral lands their institutions

in Curatopia