The Archaeology of Seeing provides readers with a new and provocative understanding of material culture through exploring visual narratives captured in cave and rock art, sculpture, paintings, and more. The engaging argument draws on current thinking in archaeology, on how we can interpret the behaviour of people in the past through their use of material culture, and how this affects our understanding of how we create and see art in the present. Exploring themes of gender, identity, and story-telling in visual material culture, this book forces a radical reassessment of how the ability to see makes us and our ancestors human; as such, it will interest lovers of both art and archaeology. Illustrated with examples from around the world, from the earliest art from hundreds of thousands of years ago, to the contemporary art scene, including street art and advertising, Janik cogently argues that the human capacity for art, which we share with our most ancient ancestors and cousins, is rooted in our common neurophysiology. The ways in which our brains allow us to see is a common heritage that shapes the creative process; what changes, according to time and place, are the cultural contexts in which art is produced and consumed. The book argues for an innovative understanding of art through the interplay between the way the human brain works and the culturally specific creation and interpretation of meaning, making an important contribution to the debate on art/archaeology.

The Archaeology of Seeing provides readers with a new and provocative understanding of material culture through exploring visual narratives captured in cave and rock art, sculpture, paintings, and more. The engaging argument draws on current thinking in archaeology, on how we can interpret the behaviour of people in the past through their use of material culture, and how this affects our understanding of how we create and see art in the present. Exploring themes of gender, identity, and story-telling in visual material culture, this book forces a radical reassessment of how the ability to see makes us and our ancestors human; as such, it will interest lovers of both art and archaeology. Illustrated with examples from around the world, from the earliest art from hundreds of thousands of years ago, to the contemporary art scene, including street art and advertising, Janik cogently argues that the human capacity for art, which we share with our most ancient ancestors and cousins, is rooted in our common neurophysiology. The ways in which our brains allow us to see is a common heritage that shapes the creative process; what changes, according to time and place, are the cultural contexts in which art is produced and consumed. The book argues for an innovative understanding of art through the interplay between the way the human brain works and the culturally specific creation and interpretation of meaning, making an important contribution to the debate on art/archaeology.

A quest to find something new by excavating the "deep time" of media's development—not by simply looking at new media's historic forerunners, but by connecting models, machines, technologies, and accidents that have until now remained separated. Deep Time of the Media takes us on an archaeological quest into the hidden layers of media development—dynamic moments of intense activity in media design and construction that have been largely ignored in the historical-media archaeological record. Siegfried Zielinski argues that the history of the media does not proceed predictably from primitive tools to complex machinery; in Deep Time of the Media, he illuminates turning points of media history—fractures in the predictable—that help us see the new in the old. Drawing on original source materials, Zielinski explores the technology of devices for hearing and seeing through two thousand years of cultural and technological history. He discovers the contributions of "dreamers and modelers" of media worlds, from the ancient Greek philosopher Empedocles and natural philosophers of the Renaissance and Baroque periods to Russian avant-gardists of the early twentieth century. "Media are spaces of action for constructed attempts to connect what is separated," Zielinski writes. He describes models and machines that make this connection: including a theater of mirrors in sixteenth-century Naples, an automaton for musical composition created by the seventeenth-century Jesuit Athanasius Kircher, and the eighteenth-century electrical tele-writing machine of Joseph Mazzolari, among others. Uncovering these moments in the media-archaeological record, Zielinski says, brings us into a new relationship with present-day moments; these discoveries in the "deep time" media history shed light on today's media landscape and may help us map our expedition to the media future.

SEEING THE UNSEEN. GEOPHYSICS AND LANDSCAPE ARCHAEOLOGY is a collection of papers presented at the advanced XV International Summer School in ArchaeologyGeophysics for Landscape Archaeology (Grosseto, Italy, 10-18 July 2006). Bringing together the experience of some of the worlds greatest experts in the field of archaeological prospection, the

While many acknowledge that Friedrich Nietzsche and Michel Foucault have redefined our notions of time and history, few recognize the crucial role that 'the infinite relation' between seeing and saying plays in their work. Shapiro reveals the full extent of Nietzsche and Foucault's concern with the visual.

Scientific soil prospecting methods can give dramatic pictures of buried archaeological sites, and sometimes information on what occurred within them, before any earth has ben removed. Dr Clark, who was one of the earliest to work in this field, has written the first general survey of an increasingly important area of practical archaeology. The emphasis is on the principles and practical application of the well established techniques of resistivity, magnetometry and magnetic susceptibility, with shorter sections on emerging and less common techniques such as ground-penetrating radar, electromagnetic methods and phosphate survey. This paperback edition updates and enhances the earlier book, adding new material such as the large-scale evaluation exercises now required as a precondition of planning consent for major developments.

Archaeologists seldom study ancient art, even though art is fundamental to the human experience. The Archaeology of Art in the American Southwest argues that archaeologists should study ancient artifacts as artwork, as applying the term 'art' to the past raises new questions about artists, audiences, and the works of art themselves. Munson proposes that studies of ancient artwork be based on standard archaeological approaches to material culture, framed by theoretical insights of disciplines such as art history, visual studies, and psychology. Using examples drawn from the American Southwest, The Archaeology of Art in the American Southwest discusses artistic practice in ancestral Pueblo and Mimbres ceramics and the implications of context and accessibility for the audiences of painted murals and rock art. Studies of Hohokam figurines and rock art illustrate methods for studying ancient images, while the aesthetics of ancient art are suggested by work on ceramics and kivas from Chaco Canyon. This book will be of interest to archaeologists working in the Southwest who want to broaden their perspective on the past. It will also appeal to archaeologists in other parts of the world and to anthropologists, art historians, and those who are intrigued by the material world, aesthetics, and the visual.