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Borrowing from the feminist scholar Karen Barad, the authors ask
what happens when we diffract the formal techniques of
archaeological digital imaging through a different set of
disciplinary concerns and practices. Diffracting exposes the
differences between archaeologists, heritage practitioners and
artists and foregrounds how their differing practices and
approaches enrich and inform each other. How might the digital
imaging techniques used by archaeologists be adopted by digital
artists, and what are the potentials associated with this adoption?
Under the gaze of fine artists, what happens to the fidelity of the
digital images made by archaeologists, and what new questions do we
ask of the digital image? How can the critical approaches and
practices of fine artists inform the future practice of digital
imaging in archaeology and cultural heritage? Diffracting Digital
Images will be of interest to students and scholars in archaeology,
cultural heritage studies, anthropology, fine art, digital
humanities, and media theory.
A new generation of archaeologists has thrown down a challenge to
post-processual theory, arguing that characterizing material
symbols as arbitrary overlooks the material character and
significance of artifacts. This volume showcases the significant
departure from previous symbolic approaches that is underway in the
discipline. It brings together key scholars advancing a variety of
cutting edge approaches, each emphasizing an understanding of
artifacts and materials not in terms of symbols but relationally,
as a set of associations that compose people's understanding of the
world. Authors draw on a diversity of intellectual sources and case
studies, paving a dynamic road ahead for archaeology as a
discipline and theoretical approaches to material culture.
Borrowing from the feminist scholar Karen Barad, the authors ask
what happens when we diffract the formal techniques of
archaeological digital imaging through a different set of
disciplinary concerns and practices. Diffracting exposes the
differences between archaeologists, heritage practitioners and
artists and foregrounds how their differing practices and
approaches enrich and inform each other. How might the digital
imaging techniques used by archaeologists be adopted by digital
artists, and what are the potentials associated with this adoption?
Under the gaze of fine artists, what happens to the fidelity of the
digital images made by archaeologists, and what new questions do we
ask of the digital image? How can the critical approaches and
practices of fine artists inform the future practice of digital
imaging in archaeology and cultural heritage? Diffracting Digital
Images will be of interest to students and scholars in archaeology,
cultural heritage studies, anthropology, fine art, digital
humanities, and media theory.
A new generation of archaeologists has thrown down a challenge to
post-processual theory, arguing that characterizing material
symbols as arbitrary overlooks the material character and
significance of artifacts. This volume showcases the significant
departure from previous symbolic approaches that is underway in the
discipline. It brings together key scholars advancing a variety of
cutting edge approaches, each emphasizing an understanding of
artifacts and materials not in terms of symbols but relationally,
as a set of associations that compose people's understanding of the
world. Authors draw on a diversity of intellectual sources and case
studies, paving a dynamic road ahead for archaeology as a
discipline and theoretical approaches to material culture.
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.
Humans occupy a material environment that is constantly changing.
Yet in the twentieth century archaeologists studying British
prehistory have overlooked this fact in their search for past
systems of order and pattern. Artefacts and monuments were treated
as inert materials which were the outcomes of social ideas and
processes. As a result materials were variously characterized as
stable entities such as artefact categories, styles or symbols in
an attempt to comprehend them. In this book Jones argues that, on
the contrary, materials are vital, mutable, and creative, and
archaeologists need to attend to the changing character of
materials if they are to understand how past people and materials
intersected to produce prehistoric societies. Rather than
considering materials and societies as given, he argues that we
need to understand how these entities are performed. Jones analyses
the various aspects of materials, including their scale, colour,
fragmentation, and assembly, in a wide-ranging discussion that
covers the pottery, metalwork, rock art, passage tombs, barrows,
causewayed enclosures, and settlements of Neolithic and Early
Bronze Age Britain and Ireland.
This book offers an analysis of archaeological imagery based on new
materialist approaches. Reassessing the representational paradigm
of archaeological image analysis, it argues for the importance of
ontology, redefining images as material processes or events 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.
Featuring contributions from archaeologists, Egyptologists,
anthropologists and artists, it highlights the multiple role of
images in prehistoric and historic societies, while demonstrating
that scholars need to recognise their dynamic and changeable
character. -- .
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