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Houses Borders Ghosts (Paperback)
Rob Redman; Alastair Chisholm, Gareth Durasow, Jacki Donnellan, Bill Davidson, …
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R458
Discovery Miles 4 580
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This volume presents a collection of interdisciplinary
collaborations between contemporary art, heritage, anthropological,
and archaeological practitioners. Departing from the proceedings of
the Sixth World Archaeological Congress's 'Archaeologies of Art'
theme and Abhar agus Meon exhibitions, it includes papers by
seminal figures as well as experimental work by those who are
exploring the application of artistic methods and theory to the
practice of archaeology. Art and archaeology: collaborations,
conversations, criticisms encourages the creative interplay of
various approaches to 'art' and 'archaeology' so these new modes of
expression can contribute to how we understand the world.
Established topics such as cave art, monumental architecture and
land art will be discussed alongside contemporary video art,
performance art and relational arts practices. Here, the parallel
roles of artists as makers of new worlds and archaeologists as
makers of pasts worlds are brought together to understand the
influences of human creativity.
How can archaeologists interpret ancient art and images if they do
not treat them as symbols or signifiers of identity? Traditional
approaches to the archaeology of art have borrowed from the history
of art and the anthropology of art by focusing on iconography,
meaning, communication and identity. This puts the archaeology of
art at a disadvantage as an understanding of iconography and
meaning requires a detailed knowledge of historical or ethnographic
context unavailable to many archaeologists. Rather than playing to
archaeology's weaknesses, the authors argue that an archaeology of
art should instead play to archaeology's strength: the material
character of archaeological evidence. Using case studies -
examining rock art, figurines, beadwork, murals, coffin
decorations, sculpture and architecture from Europe, the Americas,
Asia, Australia, and north Africa -the authors develop an
understanding of the affective and effective nature of ancient art
and imagery. An analysis of a series of material-based practices,
from gesture and improvisation to miniaturisation and gigantism,
assembly and disassembly and the use of distinctions in colour
enable key concepts, such as style and meaning, to be re-imagined
as affective practices. Recasting the archaeology of art as the
study of affects offers a new prospectus for the study of ancient
art and imagery.
How can archaeologists interpret ancient art and images if they do
not treat them as symbols or signifiers of identity? Traditional
approaches to the archaeology of art have borrowed from the history
of art and the anthropology of art by focusing on iconography,
meaning, communication and identity. This puts the archaeology of
art at a disadvantage as an understanding of iconography and
meaning requires a detailed knowledge of historical or ethnographic
context unavailable to many archaeologists. Rather than playing to
archaeology's weaknesses, the authors argue that an archaeology of
art should instead play to archaeology's strength: the material
character of archaeological evidence. Using case studies -
examining rock art, figurines, beadwork, murals, coffin
decorations, sculpture and architecture from Europe, the Americas,
Asia, Australia, and north Africa -the authors develop an
understanding of the affective and effective nature of ancient art
and imagery. An analysis of a series of material-based practices,
from gesture and improvisation to miniaturisation and gigantism,
assembly and disassembly and the use of distinctions in colour
enable key concepts, such as style and meaning, to be re-imagined
as affective practices. Recasting the archaeology of art as the
study of affects offers a new prospectus for the study of ancient
art and imagery.
This volume presents a collection of interdisciplinary
collaborations between contemporary art, heritage, anthropological,
and archaeological practitioners. Departing from the proceedings of
the Sixth World Archaeological Congress's 'Archaeologies of Art'
theme and Abhar agus Meon exhibitions, it includes papers by
seminal figures as well as experimental work by those who are
exploring the application of artistic methods and theory to the
practice of archaeology. Art and archaeology: collaborations,
conversations, criticisms encourages the creative interplay of
various approaches to 'art' and 'archaeology' so these new modes of
expression can contribute to how we understand the world.
Established topics such as cave art, monumental architecture and
land art will be discussed alongside contemporary video art,
performance art and relational arts practices. Here, the parallel
roles of artists as makers of new worlds and archaeologists as
makers of pasts worlds are brought together to understand the
influences of human creativity.
This is an EXACT reproduction of a book published before 1923. This
IS NOT an OCR'd book with strange characters, introduced
typographical errors, and jumbled words. This book may have
occasional imperfections such as missing or blurred pages, poor
pictures, errant marks, etc. that were either part of the original
artifact, or were introduced by the scanning process. We believe
this work is culturally important, and despite the imperfections,
have elected to bring it back into print as part of our continuing
commitment to the preservation of printed works worldwide. We
appreciate your understanding of the imperfections in the
preservation process, and hope you enjoy this valuable book.
This volume is the product of a Theoretical Archaeology Group (TAG)
conference session (held at Lampeter, Wales, in December 2003)
entitled Mentalites and Identities in Motion. The session centred
on the role of past ways of thinking, feeling and acting in social
transformation, and exploring past worldviews as (instead of being
relegated to the 'fictional' or anecdotal) an integral part of
every aspect of human life, not just explicit contexts of power
struggles and domination, but also approachable from the material
evidence. The contributions are widely spread across space and
time, ranging from Northern Ireland to Sicily, from France to
Bulgaria and covering almost every period from the Mesolithic to
the Thirty Years' War. On top of this, they are also very different
in methodology, in the ways they have interpreted the session title
and approached their evidence.
Prehistoric imagery is enigmatic and has been largely overlooked by
archaeologists; it is only in the last two decades that it has
garnered serious academic attention. This volume addresses this
lacuna and discusses visual expression across Neolithic Europe. The
papers in this volume result from a meeting of the Neolithic
Studies Group on the topic of 'Neolithic visual culture' at the
British Museum in November 2010. The intention of the meeting was
to assess new studies of rock art from across Britain and Ireland,
and to compare these with studies of Neolithic visuality from
continental Europe. Here, the scope of the original meeting is
widened, and includes further papers to provide a broader context
and more coherent analysis of prehistoric expressionism. The volume
is organised so that the rock art and passage tomb art traditions
of the Neolithic in Britain and Ireland are compared for the first
time to the rock art traditions of Northern and Southern Europe,
with the mortuary costumes and figurines of South-eastern Europe.
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