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Full Description
The archaeological past exists for us through intermediaries. Some are written works, descriptions, narratives and field notes, while others are visual: the drawings, paintings, photographs, powerpoints or computer visualizations that allow us to re-present past forms of human existence. This volume brings together nine papers, six of which were presented at a symposium hosted at Brown University. Two papers explore the classical past and medieval visualizations. Three treat the Maya, and one considers the imaging by eighteenth-century antiquarians of British history; yet another ranges broadly in its historical considerations. Several consider the trajectory over time of visualization and self-imaging. Others engage with issues of recording by looking, for example, at the ways in which nineteenth-century excavation photographs can aid in the reconstruction of an inscription or by evaluating the process of mapping a site with ArcGIS and computer animation software. All essays raise key questions about the function of re-presentations of the past in current archaeological practice.
Contents
1. Re-presenting Archaeology: Sheila Bonde and Stephen Houston
2. Imaging British History - Patriotism, professional arts practice and the quest for precision: Sam Smiles
3. Re-presenting the Monastery - From Ordo to Google Earth: Sheila Bonde and Clark Maines
4. Ping-Pong, Polygons, Virgins - Graphic representations of the ancient museum: Stephen Houston
5. Visual Time Machines - Nineteenth-century photography and museum Re-presentations in Maya archaeology: Barbara W. Fash
6. Of Imaging and Imagining - Landscape reconstruction at Piedras Negras: Cassandra L. Mesick
7. A Political Economy of Visual Media in Archaeology: Michael Shanks and Timothy Webmoor
8. Representing the Medieval Festivals of Jaén Through Text, Enactment and Image: Thomas Devaney
9. The World on a Flat Surface - Maps from the archaeology of Greece and beyond: Christopher L. Witmore
10. To be or not to be in Past Spaces - Thoughts on Roman immersive reconstructions: Diane Favro
