Real Estate Open House, by Fotis Ifantidis
My review of Fotis Ifantidis’ Archaeographies came out in the Journal of Contemporary Archaeology. I’m not sure why there aren’t figures, but oh well.
A quote from the review:
Out of the thousands of photographs taken at Dispilio, Ifantidis has selected examples that are, on the surface, aggressively non-archaeological. These photographs do not effectively document the archaeological record in a way that is acceptable as standard site photography: scales, when deployed, are haphazard, artifacts are scattered and in partial focus, and site overviews are messy and full of distracting tools or loose dirt. This is entirely intentional.
Read the rest here:
As I previously mentioned, Jason Quinlan and I co-presented a poster at this year’s EAA in Istanbul. While it isn’t quite as brilliant as Alison Akins’ Plague Poster, I enjoyed putting something together about the photography at Çatalhöyük, especially with one of the primary photographers involved!
Regardless, I’ve put our poster below. Of particular note is the immense increase in the size of the archive after Photoscan was introduced at Çatalhöyük.
Jason and I collaborated on this remotely, and so there is some funny bits with converting between iterations of Illustrator, most notably in the wandering photo code above.
Let me know what you think!
I was happy to see that a mash-up that did a while ago for the Origins of Doha project was featured on the special Qatar Foundation section of CNN. The photo is near the Souq Waqif, and we located and re-shot the photograph using one of the few landmarks left in that area, a small minaret visible above and to the left of the men walking toward the camera. The black and white photograph comes from the Bibby and Glob expedition to Doha.
I posted some of my initial attempts here:
You can see the full feature about the Origins of Doha Project, as linked from the project webpage HERE, and includes the print versions of the article in Arabic and English.
Later this week I am presenting a paper in Dan Hicks‘ Archaeology and Photography session at the Photography and Anthropology conference at the British Museum. Here’s the abstract for my talk:
Archaeological Photography as Dangerous Supplement
“But isn’t a photographer who can’t read his own pictures worth less than an illiterate?” (Walter Benjamin, 1968)
Archaeology has a long, complex, and fascinating entanglement with photography, a relationship that continues into the digital age. To understand the florescence of digital photography in archaeology, we must inhabit an interdisciplinary space, a space that lies between the compound field of visual studies and archaeology but that also attends to issues of representation, authority, and authenticity. Being conversant in visual analysis can help to create more robust visualization strategies in archaeology, but can have unintended consequences. Quantitative and qualitative analyses of both analog and digital archaeological photographs exposes interesting disciplinary shifts and uninterrogated power dynamics in the field. While digital photography is changing the way that archaeologists are thinking about and doing archaeology, it also reveals the complexity of the relationships present on an archaeological project, in the local community and online. In this, photography can act as a dangerous supplement for archaeology, a Derridean concept W.J.T. Mitchell ascribed to disrupting the cohesion of traditionally defined disciplines.
In this paper I will discuss the process of creating a theory-laden practice of archaeological photography, using the photographic record from the sites of Çatalhöyük in Turkey and Tall Dhiban in Jordan. Through this record I will investigate photography and visualization as a particularly productive instance of the dangerous supplement. Finally, I will explore the implications of merging this theory-laden practice with emancipatory strategies to achieve a more inclusive, reflexive archaeological praxis.
“KRG3 cemetery. Attacked by small biting flies in the late afternoon, Kurgus, northern Sudan.” – Scott Haddow
The Flickr group that I sporadically moderate, Archaeology in Action, is almost a decade old! I try to go in every couple of months and clean out the travel photos and such that inevitably creep in there. I’m always happy to see the fantastic contributions that the group attracts.
“At the end of excavation, the final rites. Mapungubwe, 1995, inhabited around 1200 AD is now a World Heritage Site. This was one of the last large scale excavations done on the site.” – Marius Loots
In some ways, it is an interesting practice in defining representation of the field. No, that isolated artifact in the museum is not “archaeology in action.” But if the conservator is working on it–sure. Ultimately, I have an audience in mind: those who want to see archaeologists at work in various contexts.
“Horton excavations 2013.” – Wessex Archaeology
While Flickr has been neglected over the years, and then overhauled in horrible, horrible ways, it is still a relatively good resource as an archive of photos that you can self-curate and distribute with Creative Commons licensing.
Here are past updates about the group:
Archaeology in Action Update
Archaeology in Action, Another Update
If you curate your photos on Flickr, I encourage you to contribute your photos of archaeology in action to the group here:
Archaeology in Action
I’ve been trying to take photographs again, and not just the snappy-snap iPhone photos that are uploaded to Instagram, that I treasure for their quick and easy conversational imagery.
Dan and I brought a 1930s £5 medium format camera with us to France over the summer and had a lot of fun finding film, setting up shots, and generally taking the time to play with the analog format. It was great, and I’d do it again in a heartbeat, but I may take a roll of test shots first, as these were the atmospheric, but not completely desirable results:
So I’ve been trying to haul the Nikon D200 around with me, both on walks in Yorkshire:
And more recently in Padova/Padua:
For a 7-year-old (!!) camera, the D200 is still solid, though suffering from several dead pixels at this point. You can check for dead pixels in your own camera by taking a photo with the lens cap still on, or by noticing horrible bright spots when you take an otherwise lovely photo. They are non-fatal but annoying, and I should have had the D200 serviced years ago.
Reports that the DSLR is dead are vastly overstated, though I could concede that the iPhone is the new DSLR while the DSLR is the new video camera. I was able to order equipment with my new (awesome) postdoc and I’ll be producing short films with this nifty piece of kit, pretty soon.
Posted in Archaeology, photography
Tagged Archaeology, dslr, instagram, iphone, italy, padua, photography, travel, venice, yorkshire