| 1. |
- Patterson, Nick, et al.
(författare)
-
Large-scale migration into Britain during the Middle to Late Bronze Age
- 2022
-
Ingår i: Nature. - : Nature Publishing Group. - 0028-0836 .- 1476-4687. ; , s. 588-594
-
Tidskriftsartikel (refereegranskat)abstract
- Present-day people from England and Wales harbour more ancestry derived from Early European Farmers (EEF) than people of the Early Bronze Age1. To understand this, we generated genome-wide data from 793 individuals, increasing data from the Middle to Late Bronze and Iron Age in Britain by 12-fold, and Western and Central Europe by 3.5-fold. Between 1000 and 875 BC, EEF ancestry increased in southern Britain (England and Wales) but not northern Britain (Scotland) due to incorporation of migrants who arrived at this time and over previous centuries, and who were genetically most similar to ancient individuals from France. These migrants contributed about half the ancestry of Iron Age people of England and Wales, thereby creating a plausible vector for the spread of early Celtic languages into Britain. These patterns are part of a broader trend of EEF ancestry becoming more similar across central and western Europe in the Middle to Late Bronze Age, coincident with archaeological evidence of intensified cultural exchange2-6. There was comparatively less gene flow from continental Europe during the Iron Age, and Britain's independent genetic trajectory is also reflected in the rise of the allele conferring lactase persistence to ~50% by this time compared to ~7% in central Europe where it rose rapidly in frequency only a millennium later. This suggests that dairy products were used in qualitatively different ways in Britain and in central Europe over this period.
|
|
| 2. |
- Dawson, Ian, et al.
(författare)
-
Diffracting Digital Images in the Making
- 2021
-
Ingår i: Visual Resources. - : Taylor & Francis. - 0197-3762 .- 1477-2809. ; 37:1, s. 31-43
-
Tidskriftsartikel (refereegranskat)abstract
- This paper presents a diffractive dialogue between ethnographic accounts of imagery, digital or computational imaging, and art and archaeology practices. It develops the notion of images in the making in the context of the digital domain, to discuss what an image is and can be today. It focusses on two digital imaging techniques developed within archaeology and cultural heritage – Reflectance Transformation Imaging (RTI) and Structure from Motion photogrammetry (SfM) – exploring how these techniques play out in heritage and art world contexts and practices. The paper highlights digital images as unstable compositions, and explores how digital images in the making enable us to reconsider the shifting temporal character of the image, and discuss the way in which the digital image forces us to disrupt the representational assumptions bound up in the relationship between the virtual and the actual. The authors argue that the diffractive moments in these encounters between archaeology and art practice disclose the potential of digital imaging to recursively question the complex ontological composition of images and the ability of images to act and affect.
|
|
| 3. |
|
|
| 4. |
- Jandrić, Petar, et al.
(författare)
-
Teaching in the Age of Covid-19 : The New Normal
- 2022
-
Ingår i: Postdigital Science and Education. - : Springer Science and Business Media LLC. - 2524-485X .- 2524-4868. ; 4:3, s. 877-1015
-
Tidskriftsartikel (refereegranskat)abstract
- On 17 March 2020, Postdigital Science and Education launched a call for testimonies about teaching and learning during very frst Covid-19 lockdowns. The resulting article, ‘Teaching in the Age of Covid-19’ (attached), presents 81 written testimonies and 80 workspace photographs submitted by 84 authors from 19 countries. On 17 March 2021, Postdigital Science and Education launched a call for a sequel article of testimonies about teaching and learning during very first Covid-19 lockdowns. The resulting article, ‘Teaching in the Age of Covid-19—1 Year Later’(attached), consists of 74 textual testimonies and 76 workspace photographs submitted by 77 authors from 20 countries.These two articles have been downloaded almost 100,000 times and have been cited more than 100 times. This shows their value as historical documents. Recent analyses, such as ‘Teaching in the Age of Covid-19—A Longitudinal Study ’(attached), also indicate their strong potential for educational research. As the Covid-19 pandemic seems to wind down, pandemic experiences have entered the mainstream. They shape all educational research of today and arguably do not require special treatment. Yet, our unique series of pandemic testimonies provides a unique opportunity to longitudinally trace what happens to the same people over the years—and this opportunity should not be missed.Today, we launch a call for fnal sequel: Teaching in the Age of Covid-19—The New Normal. In this sequel, we would like to hear about ways in which you—contributors to the previous articles—have established your own new normal. We hope that this will be the last iteration in this series of testimony articles. Unless the world faces another strong pandemic outburst, we would like to end the series with this last article.
|
|
| 5. |
- Dawson, Ian, et al.
(författare)
-
What is a diffractive digital image?
- 2021
-
Ingår i: Diffracting Digital Images. - London : Routledge. - 9781003042129 - 9780367486556 ; , s. 1-14
-
Bokkapitel (refereegranskat)abstract
- In the introduction to this book we outline the two main aims of the volume. First, the book examines digital imaging through the divergent lenses of archaeology, art practice and cultural heritage. Second, the book looks at the ethics of the deployment of digital images as a form of data (and conversely data processed to look like photographic images), particularly how digital imaging is shaped through collaboration with Indigenous communities.
|
|
| 6. |
-
Diffracting Digital Images : Archaeology, Art Practice, Cultural Heritage
- 2021
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- Digital imaging techniques have been rapidly adopted within archaeology and cultural heritage practice for the accurate documentation of cultural artefacts. But what is a digital image, and how does it relate to digital photography? The authors of this book take a critical look at the practice and techniques of digital imaging from the stance of digital archaeologists, cultural heritage practitioners and digital artists.Borrowing from the feminist scholar Karen Barad, the authors ask what happens when we diffract the formal techniques of archaeological digital imaging through a different set of disciplinary concerns and practices. Diffracting exposes the differences between archaeologists, heritage practitioners and artists, and foregrounds how their differing practices and approaches enrich and inform each other. How might the digital imaging techniques used by archaeologists be adopted by digital artists, and what are the potentials associated with this adoption? Under the gaze of fine artists, what happens to the fidelity of the digital images made by archaeologists, and what new questions do we ask of the digital image? How can the critical approaches and practices of fine artists inform the future practice of digital imaging in archaeology and cultural heritage?
|
|
| 7. |
|
|
| 8. |
- Jones, Mark Ian
(författare)
-
Vicke Lindstrand On the Periphery : Mid-Twentieth Century Design and the Reception of Vicke Lindstrand
- 2016. - 1
-
Bok (övrigt vetenskapligt/konstnärligt)abstract
- Vicke Lindstrand On The Periphery is the first English language publication to examine the life and work of the Swedish artist and designer Vicke Lindstrand and his place in Swedish and Scandinavian design history. The richly illustrated text focusses on English language discourse on Swedish and Scandinavian Design during the 1950s and the reception and profile of Vicke Lindstrand. It reconstructs the context in which narratives and rhetoric emerged and analyses its effect on Lindstrand, between 1950–1970. Swedish and Scandinavian design are described in terms of a pared-down, clichéd aesthetic associated with 1950s ‘Scandinavian Design’, now held as a ‘construct’, continuously emphasising the same preeminent exemplars. Informed by extensive field study in Sweden, detailed archival research, informant interviews, object and text analysis, the book is divided into two parts. Part I investigates the disproportional impact of a small actor-network associated with twentieth century English language discourse on Swedish and Scandinavian design. The author argues that this demonstrates the pervasive influence of the construction of a national ideal (Swedish design) that was loosely translated to fit a regional ideal (Scandinavian Design) by the formation of an exclusive filter that determined the fit of what was included in the promotion of a cohesive identity. This filter emphasised an ideology that shaped perceptions and has influenced the subsequent reception and visibility of individual designers. Not all designers were treated equally. Nationalist, regionalist and internationalist influences had an impact upon the critical reception of their work further complicated by past associations. The actor-network operated at the level of selective solidarity, which was exclusive rather than inclusive. Part II examines the consequences of this fit through an analysis of the position and reception of Lindstrand. Preeminent exemplars, familial influences and the agency of an actor-network were profoundly influential in shaping perceptions and determining taste in 1950s Sweden, presenting a filtered view of design from the region. Lindstrand was strongly affected by the activities of this network. An interesting outcome of this study was the realisation that our understanding of Swedish design is incomplete, and that there is another more pluralist aesthetic concealed behind that officially promoted and exhibited during the 1950s. This investigation brings unique and unprecedented readings of a peripheral individual in the context of English language representation, and of the Scandinavian milieu.
|
|
| 9. |
- Rodgers, Paul, et al.
(författare)
-
The Lancaster Care Charter
- 2019
-
Ingår i: Design Issues. - : MIT Press - Journals. - 0747-9360 .- 1531-4790. ; 35:1, s. 73-77
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- In the fall of 1991 the Munich Design Charter was published in Design Issues. This charter was written as a design-led “call to arms” on the future nations and boundaries of Europe. The signatories of the Munich Design Charter saw the problem of Europe, at that time, as fundamentally a problem of form that should draw on the creativity and expertise of design. Likewise, the Does Design Care…? workshop held at Imagination, Lancaster University in the autumn of 2017 brought together a multidisciplinary group of people from 16 nations across 5 continents, who, at a critical moment in design discourse saw a problem with the future of Care. The Lancaster Care Charter has been written in response to the vital question “Does Design Care…?” and via a series of conversations, stimulated by a range of presentations that explored a range of provocations, insights and more questions, provides answers for the contemporary context of Care. With nation and boundary now erased by the flow of Capital the Charter aims to address the complex and urgent challenges for Care as both the future possible and the responsibility of design. The Lancaster Care Charter presents a collective vision and sets out new pragmatic encounters for the design of Care and the care of Design.
|
|
