| 1. |
- Back Danielsson, Ing-Marie, 1964-
(författare)
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Guldgubbar's changing ontology. : Scandinavian Late Iron Age gold foil figures through the lense of intra-action
- 2020
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Ingår i: Images in the Making. - Manchester : Manchester University Press. - 9781526142849
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Bokkapitel (refereegranskat)abstract
- This chapter discusses minuscule gold foil figures from the Scandinavian Late Iron Age and demonstrates how the figures are continuously in the making, rather than being still representations of gods. In the past, the figures’ affectual qualities, such as their small size, their shininess and their human-like and foldable character, invited to play and experimentation, stressing the figures’ ongoing-ness. Equally, their capacities to be simultaneously image, object, and component allowed them to be re-configured into new arrangements, stressing their fractal, emerging and open-ended character. By contrast, in the present, they become ‘victims’ of representationalist thought, through the framing and boundary making practices set up by for instance museums, keeping the figures in complete motionlessness. Instead, it is only through the help of different apparatuses (digital photography, copying, etc.), that they become generative and are in the making in the present, stressing that we today to a greater extent deal with gold foil figures’ hauntology, rather than their ontology.
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| 2. |
- Back Danielsson, Ing-Marie, et al.
(författare)
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Guldgubbar's changing ontology : Scandinavian Late Iron Age gold foil figures through the lens of intra-action
- 2020
-
Ingår i: Images in the Making : Art, Process, Archaeology - Art, Process, Archaeology. - 9781526142849 - 9781526142856 ; , s. 184-201
-
Bokkapitel (refereegranskat)abstract
- This chapter discusses minuscule gold foil figures from the Scandinavian Late Iron Age anddemonstrates how the figures are continuously in the making, rather than being still representations of gods. In the past, the figures’ affectual qualities, such as their small size, their shininess and their human-like and foldable character, invited play and experimentation, stressing the figures’ ongoingness. Equally, their capacities to be simultaneously image,object and component allowed them to be reconfigured into new arrangements, stressing their fractal, emerging and open-ended character. By contrast, in the present, they become ‘victims’ of representationalist thought, through the framing and boundary making practices set up by for instance museums, keeping the figures in complete motionlessness. Instead, itis only through the help of different apparatuses (digital photography, copying etc.), that theybecome generative and are in the making in the present, stressing that we today to a greaterextent deal with gold foil figures’ hauntology, rather than their ontology.
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| 3. |
- Back Danielsson, Ing-Marie, Docent och FD i arkeologi, 1964-, et al.
(författare)
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Introduction
- 2020
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Ingår i: Images in the making. - Manchester : Manchester University Press. - 9781526142849
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Bokkapitel (refereegranskat)abstract
- This introduction addresses and challenges long held assumptions concerning archaeological art and images, and offers new ways to approach and understand them. It is less concerned with the thorny question of defining art, and instead primarily focus on images. We develop approaches that enable us to follow images in their making, their unfolding, their transformation, their multiplicity. We also discuss how images can be understood, given that they appear to be in constant motion.
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| 4. |
- Fahlander, Fredrik, 1965-
(författare)
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The partial and the vague as a visual mode in Bronze Age rock art
- 2020
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Ingår i: Images in the making. - Manchester : Manchester University Press. - 9781526142849 ; , s. 204-217
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Bokkapitel (refereegranskat)abstract
- Studies of rock art normally depart from a classification of type, style and what the motifs represents or depicture. South Scandinavian rock art, however, are often vague, incomplete and fragmentary. In this chapter, it is argued that certain rock art motifs, mainly boats and anthropomorphs, were deliberately made incomplete as a part of a vitalist technology with the aim to affect the world. An important aspect of such visual vagueness, intentional or not, is that it can function as a punctum in Roland Barthes terminology and evoke affect among the beholder. The incomplete motifs also stress the making of rock art as a continuous process in which details can be added over time to enhance certain aspects or radically alter the motif. The chapter is illustrated with examples of Bronze Age rock art of the Mälaren district in central-eastern Sweden.
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