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Theorising Archaeology Through the Moving Image Start Time Wed D <!DOCTYPE html> Session ID 39 Session Title Archaeology and the camera truelle: theorising archaeology through the moving image Start Time Wed Dec 18 09:30:00 Room Clarke Hall (Level 3) By 2022, it is predicted that video will account for 82% of global internet provider traffic (CISCO 2019). In other words, the moving image is set to become humanity’s dominant form of internet communication. Is archaeology ready for this? Archaeologists have embraced filmmaking as a form of recording, reporting, and promoting their work since at least the 1910s, and today, social media abounds in archaeologist-made videos that promote or report archaeological work and values. But can we use filmmaking practices (including videography and animation) to dig deeper than functioning merely as an illustration, record, or PR? Artists, documentary filmmakers, anthropologists, and journalists have long used the medium of filmmaking to ask and answer complex questions about the world in ways the still image and the written word cannot. Borrowing Piccini’s concept of the camera truelle (‘camera trowel’, based on Astruc’s concept of the camera-stylo, or ‘camera-pen’, Astruc 1948, in Piccini 2015: 2), we suggest that for archaeology to make the most of video communications in the 21st century, archaeologists must learn to ‘write’ with the moving image.This session invites archaeologists and aligned heritage and media practitioners to discuss, screen, and share film, video, or animation works (completed or in-production) that actively use the medium of the moving image to generate and construct archaeological knowledge and theories. Speakers are also invited to develop their presentations into articles as part of a planned edited volume on the subject. Keywords: film, video, animation, recording, drones, underwater filming, ethnographic film, CGI, 3D modelling, film archives, online platforms, databases, social media, live streaming, research design, film theory, media theory, archaeology theory. Cisco Systems Inc. (2019) Cisco Visual Networking Index: Forecast and trends, 2017-2022. White paper. Available at: https://www.cisco.com/c/en/us/solutions/collateral/service-provider/visual-networking-index-vni/white-paper-c11- 741490.pdf Piccini, A. (2015) ‘Forum: Media Archaeologies: An invitation’, Journal of Contemporary Archaeology, 2 (1), pp. 1-8. 9:30 Session organisers Introduction 9:35 Tessa Poller, University of Glasgow Re-living Time Past – Capturing I naively took up the camera during an excavation I was directing in 2014. It was already seven years into an established archaeological Moments of Creation project.As I reflected on my work, the more I wanted – needed - to explore what influenced my interpretations and, specifically, I wanted to delve into the unacknowledged ambiguity that seemed to surround me (Gero 2007). I attempted this from two directions. One was through a collaboration with digital artists to produce an app to engage others in the process of archaeological interpretation (Poller et al 2016).The other direction was a personal journey with the camera.This was an opportunity for me to look from another angle at the unconscious actions and unremembered events which are vital to the creation of interpretation.Although I was inspired by reflexive post-processual approaches, I did not employ a strict methodology.I felt free to be experimental. The standard recording practices I had constantly used and taught to students were no longer engaging me and the camera provided a source of creativity.Archaeological interpretation is creative, but the means in which we acknowledge and engage with this creative process is constrained by our standardised methods of practice (Perry 2018).This paper reflects my journey through the camera lens; employing different techniques, confronting challenges in expressing ambiguity, questioning standard practices in archaeological recording, and becoming increasingly inspired to extend my experiments with motion and different media to express the messiness of archaeological interpretation. Gero, J. 2007 ‘Honoring Ambiguity/Problematizing Certitude’, Journal of Archaeological Method and Theory 14(3):311-327. Perry, S. 2018. What does it mean to do good interpretation? Sara Perry blog, 10 September 2018, Cambridge Core blog, viewed October 2018. http://blog.journals.cambridge.org/2018/09/10/what-does-it-mean-to-do-good-archaeological-interpretation/). Poller, T, Watterson, A, Baxter, K, Anderson, J, and Duncan, K. 2016. 'Designing Digital Engagements: The SERF Hillforts Project'. http://www.seriousanimation.com/hillforts/ 9:53 Jennifer Beamer, University of Leicester Reconnecting Archaeological Visualizing the doing of archaeology can have an astounding impact on society, if the success of Time Team is to serve as an indication. Textiles: Integrating Visual Media The episodic nature of the show and its presence on a viewing platform like YouTube has increased its binge-worthiness to countless demographics across the globe. The filmography of the show and accessibility that YouTube offers creates a powerful tool that generates interest, awareness, and passion, years after the final episode aired. Ancient textiles and the prehistoric societies that produced them have been researched by a small group of niche specialists. Academic paywalls often deter hobbyists from accessing the scholarship of those experts. YouTube, owned by Google, is the largest search engine for videos in the world (Wagner, 2017). The case study presented in this paper reflects on the break-up between the study of textiles and production, and craft tradition and hobbyists through the lens of a content creator. Archaeologists are well aware of the impact changing technologies had on past societies, even with the partial picture of the archaeological record. Content creators are influencers and have a potent ability to drive social interests. Interesting educational videos that adapt to the ways people engage with the world in 2019 is one way to reconnect academics and crafters, and one which re-solidifies this long, disassociated relationship. Wagner, A. (2017) ‘Are you maximizing the use of video in your content marketing strategy?’ Forbes 15 May. Available at:https://www.forbes.com/sites/forbesagencycouncil/2017/05/15/are-you-maximizing-the-use-of-video-in-your-content-marketing- strategy/#432572b73584(Accessed: 2 September 2019). 10:11 Dr Chloe N. Duckworth, Newcastle University Is the lens mightier than the pen? Looking through the lens at experimental archaeology is forcing me to think in a different way to note-taking. Perhaps it is more emic. Perhaps it is simply the benefit of tackling the problem from a different angle. Recently, my research team has been reconstructing medieval craft ‘recipes’ for glassmaking. This is tricky, because we know that the written word is a poor medium through which to report craft practice, and yet, having finally unpicked what a recipe may be trying to tell us, we will carefully reassemble these results into a ‘REFable’ text. The next researcher will be faced with not one, but two inaccessible sets of words and diagrams to decode into an idea of craft practice. Recently, I have begun to film the work we do, capturing the experiential sides of experimental archaeology, from the practiced movements of a craftsperson’s hands, to one student’s surprise at how his recreation of medieval glassmaking struck him as an alchemical, transformative act. Academics are dismissive of film’s brevity and omissions, and yet we allow all sorts of omissions from text. A text simply cannot convey the busy-ness of a reconstruction Roman glass workshop, for example, but plonking yourself in the middle of one with a camera and capturing the legs running past you certainly does so. We miss a trick by failing to harness this medium more effectively within the formal, academic discipline (with the possible exception of ethnographic films). I’d like to consider what might happen if we shift focus. 10:29 Annika Larsson (in collaboration with Art (e) Facts: Objects as Subjects in Humanistic/social science is traditionally based on mainly theoretical contexts for both analysis and reporting of results. However, text Mohammed Haji Younes), Uppsala Archaeological Research and presentations rarely reach out for further dialogue - neither to researchers nor to a general public - not even to basic education. Art University and Research Lab at University of Presentation practicing researchers have the privilege of seeing alternative research methods and supplementary problem solutions. Documentary Arts, Crafts and Design in Stockholm film- making is an alternative form for both research and presentation - an art form that can question, explain and influence. Documentary film is based on realistic events, in the present project by letting objects occupy the subject's room and story. Norm- analytic research and presentation methods involve scientifically based approaches that deconstruct and analyse norms as social construction in time and space. On the basis of a norm-analytical model archaeological objects are not only judged on the basis of manifest descriptions, but are also activated as subjects that can tell about intangible values beyond our own cultural understanding. Our preliminary results show that manifest expressions can be dynamic and allow changes while latent content should be static, if a story will last over time and space. In a comparative study of two film animations about Ronja Rövardotter (Astrid Lindgren) we can as
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