Tag Archives: photography

The Happy Accidents of Archaeological Drone Photography

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Admittedly, 80% of the 227 photos are of grass. Blurry, impressionistic, green. The camera was set to time lapse, taking a photo every five seconds, and most people in the Heritage & Play group had a turn. A new person at the controls, and the angry-bee-buzz of the small white drone would signal lift-off.

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We all stood around it, watching it aloft, buzz around, then land. We were amateurs–this is not an effective group shot, but it’s lovely. It’s late autumn in England, the sun hangs low in the sky, prolonging the golden hour and lighting up the still-green fields.

DCIM100GOPRO But who is the author of the photo? It was a time lapse, so was it Neil, who set the camera? Or the “pilot” of the drone? The wind played havoc with the camera gimbal, so the drone propellers show up in some of these photos, like fingers left too close to the lens.

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These are the rejected shots, the extra-archival material that I’m always interested in, the visual archaeological marginalia. Drones, tied to vicious, out-of-the-blue attacks on non-combatants by the United States, are tools of surveillance, of state-crafted terror, and take lovely photos of archaeology in the English countryside. We were happy the rain lifted so we could take better photos; in Pakistan a little boy lamented the death of his 67-year-old grandmother who was killed by a drone strike while picking vegetables, “I no longer love blue skies…In fact, I now prefer gray skies. The drones do not fly when the skies are gray.”

Even unarmed, the drones are used for “weaponized photography“–there are a host of rules about where and when and why you can fly drones in the UK. Perhaps that’s why I find delight in these marginal, miscellaneous photos–they are goofy, non-standard and non-threatening, revealing an imperfect technological surrogacy. They’re accidentally lovely.

Book Review: Archaeographies

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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:

http://www.equinoxpub.com/home/morgan-book-review/

50 Years of Visualization at Çatalhöyük

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.

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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!

 

Origins of Doha Re-Photography Featured on CNN

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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:

http://middlesavagery.wordpress.com/2013/01/02/rephotography-in-doha/
http://middlesavagery.wordpress.com/2013/01/07/take-two-rephotography-in-doha/

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.

EAA Istanbul: A Blast from the (Çatalhöyük) Past

Tea on the Ferry across the Bosphorus, taken in 2006 (!)

Tea on the Ferry across the Bosphorus, taken in 2006 (!)

For the first time ever, I’m attending the European Association for Archaeology (EAA) meetings, 10-14 September in Istanbul. Istanbul is probably my favorite city in the world, so full of chaos and color, heady intellectualism, romanticism and a past that stretches deep beneath the Bosphorus. I don’t think my Turkophilia sits all that well with my Turkish friends, who have to struggle with the conservatism of Erdoğan’s government and have to fight in the streets to protect themselves from his police state. I worry about my friends in Turkey, I worry about Turkey’s slide into militancy, but I also believe in them and their passionate resistance and refusal to be silenced.

So my joy to be returning to Turkey is somewhat tempered by the ongoing struggles of the Gezi protesters and Erdoğan’s move from prime minister to president, with the accompanying fears of a cult of personality that will elevate him into an autocratic regime.

Whew–after that fairly heavy-handed politicizing, I’ll be presenting in two sessions, both about previous (slightly old & moldy) work that I did regarding Çatalhöyük that I need to publish.

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First is a paper:  The Life and Death of Virtual Çatalhöyük in Second Life

Abstract: From 2007 until 2011, OKAPI Island in Second Life hosted a virtual reconstruction of the Neolithic village of Çatalhöyük. This simulation included reconstructions of current excavations, past and present lifeways at the site, a virtual museum, and hosted several forums and open days. Using the reconstruction we hosted a mixed reality session,filmed machinima, held university lectures, and collaborative virtual building sessions. OKAPI Island in Second Life was an incredibly fertile proving ground for re-thinking our assumptions about archaeological interpretation and outreach.When Linden Labs, the makers of Second Life, decided to end the educational discount that made OKAPI Island affordable, a team of students and professors at the University of California, Berkeley made the effort to preserve the virtual reconstruction by record, a process that is familiar to archaeologists. After the “death” of a virtual reconstruction of an archaeological site, what lessons can be learned about digital materiality and preservation? How can we use the example of Çatalhöyük in Second Life to inform our future reconstructions? What is next for collaborative virtual work in archaeology?

Since my fairly effusive 2009 work in Archaeologies, (Re)Building in Second Life: Changing Virtual Reality in Archaeology, I wanted to add a coda–so many virtual reconstructions and digital projects are built, published, and we are left to puzzle out what happened later, so I wanted to wrap up all the work that we’d done and the eventual fate of the reconstruction.

I’m also very happy to be putting together a poster with my good friend and colleague Jason Quinlan:

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Title: Fifty Years of Visualization at Çatalhöyük

Abstract: Çatalhöyük, a spectacular archaeological site in central Turkey, has been the subject of visual interpretation for half a century. From Ian Todd’s photography performed during James Mellaart’s 1960s excavations to Ian Hodder’s work since 1993, a vast visual record has accumulated of over 100,000 images. The collection records not only site excavation and finds but also embedded changes recorded in the archive’s collective “metadata” in both technical and theoretical approaches to site photography over time.

In this poster we explore the changes in technology, methodology and theory at the site as seen in the changing modes of visualization at Çatalhöyük. Through quantitative and qualitative analyses of the visual record, we provide insights regarding the contrasting archaeological processes at the site. Finally, we look to the future of visual interpretation at Çatalhöyük.

I’m happy to finally be able to draw a line underneath my work at Çatalhöyük and get more of my dissertation research out the door!

Faces of Archaeology Published in Archaeologies

 

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The Faces of Archaeology portrait project that Jesse Stephen and I did at WAC-7 has been published by Archaeologies! It was a fantastic chance to collaborate with a gifted photographer and I’m very pleased with the project, the exhibitions at TAG Chicago and Turkey TAG and the final publication.

From our conclusions:

Ultimately, the Faces of Archaeology project reveals the complexity of representation in archaeology and world heritage practice. While making individual participation in WAC-7 visible through capturing and disseminating portraits of attendees, the authors contended with gender, economic, ethnic, social, political, and ethical considerations that were made explicit through this process of visualization. The authors included their own portraits in the assemblage, with the intention of both de-centering photographic practice and increasing reflexivity by showing authorship and participation (Morgan and Eve 2012). Finally, it is our hope that we can repeat this project at conferences in the future, and the collective face of archaeology and heritage will become even more diverse, complex, and beautiful.

The “online first” version can be downloaded by people who have paid access here:
http://link.springer.com/article/10.1007/s11759-014-9255-6

There is also a pre-print available here:
Faces of Archaeology at Academia.edu

 

Archaeological Photography as Dangerous Supplement

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Later this week I am presenting a paper in Dan HicksArchaeology 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.