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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.

Post-connoisseurial dystopia and the profusion of things
Sharon Macdonald
and
Jennie Morgan

time, we have a duty to future generations to actually try and show the way things are today. Are there ways of putting on the brakes and saying enough is enough? You want to know what we collect and why – and it’s a good question. But to be quite honest, I think that sometimes it’s more a matter of having to decide what not to collect – not that that makes it any easier. The description and quotation above are fictional, in the sense that they are not literal descriptions or transcriptions (except in fragments) from a particular individual or any specific museum

in Curatopia
Abstract only
Ian Wedde

them to be told, we need to think about participating subjects in the form of diverse communities of interest, as many writers in this book do: traditional or customary owners of things including their stories, general as well as scholarly audiences, and even future audiences, as Sharon Macdonald and Jennie Morgan suggest in ‘What not to collect? Post-connoisseurial dystopia and the profusion of things’: ‘But at the same time, we have a duty to future generations to actually try and show the way things are today’. What is suggested here is a curatorial duty to

in Curatopia
Iwona Kozieradzka-Ogunmakin

justification for the controversial decision. 11 The autopsy, which resulted in the almost complete destruction of the mummy would be considered unacceptable and unethical today, reflecting a time when mummies were dehumanised as specimens rather than once-living individuals. Museums are charged with the ethical and social responsibility to act merely as custodians of ancient heritage, safeguarding collections for the benefit of future generations. In doing so, museums ensure that the integrity of the body, which the ancient Egyptians aimed

in Golden Mummies of Egypt
Jes Wienberg

the World Heritage List (WHL 88, 1979). The outstanding and universal was salvaged. Monuments, buildings, and places that were not as spectacular disappeared into Lake Nasser, after having been examined and documented. Other remains could never be examined, however, and had to be denied priority. World Heritage, the outstanding and universal, is protected and preserved for future generations; but what happens to everything else? That the outstanding must be an exception cannot come as a surprise. But is World Heritage merely an alibi, so that the outside world can

in Heritopia
Patricia Lambert-Zazulak

, so that nothing will be lost for future generations of researchers. The concept of the International Ancient Egyptian Mummy Tissue Bank has a crucial role in fulfilling these objectives. It is important for the conservation of ancient human remains that they be disturbed as little as possible, and therefore the storage of tissue in the tissue bank will mean that a mummy needs to be X-rayed, be endoscoped and have tissue samples taken only once in order for the tissue to be available in the tissue bank and carefully selected for future work. The central recording of

in Mummies, magic and medicine in ancient Egypt
Jes Wienberg

of World Heritage sites? World Heritage sites are defined as monuments, buildings, and places of outstanding universal value which require protection and preservation for future generations. World Heritage may be cultural heritage, natural heritage, or a combination of both. World Heritage therefore represents both an idea and something concrete that can be visited. In a world full of diversity and conflicts, where people are separated by gender, language, culture, history, religion, politics, and economics, the World Heritage List is an attempt at a common

in Heritopia
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
Foe, facilitator, friend or forsaken?
Bryony Onciul

, communities and exhibitions, enhancing the community and visitor experiences and enriching the shared knowledge of entangled pasts. Curators, as keepers of the past for present and future generations, are also tasked with responding to current concerns. In ‘the age of apology’,39 museums are increasingly being called upon to respond to historical wrongs and facilitate new relations. In Canada, the recent adoption of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) on 10 May 2016, and the Truth and Reconciliation Commission (TRC) report released in

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

critical importance in ensuring their provenance, what is significant to many in Hawai‘i is simply this: they left by an act of Pacific generosity, and they returned by an act of Pacific generosity. Both acts were of lasting cultural and political importance, and both were magnificent gestures of faith, 297 298 Pacific 18.2  The same photograph as Figure 18.1, but now revealing the glass that separated Crabbe and Kahanu. trust and, one might argue, commitments intended to bind future generations. They were he alo ā he alo (face-to-face) encounters. This chapter

in Curatopia