Different expressions of the same mode: a recent dialogue between archaeological and contemporary drawing practices

Stefan Gant, Paul Reilly

    Research output: Contribution to journalArticleResearchpeer-review

    Abstract

    In this article we explore what we perceive as pertinent features of shared experience at the excavations of an Iron Age Hillfort at Bodfari, North Wales, referencing artist, archaeologist and examples of seminal art works and archaeological records resulting through inter-disciplinary collaboration. We explore ways along which archaeological and artistic practices of improvisation become entangled and productive through their different modes of mark-making. We contend that marks and memories of artist and archaeologist alike emerge interactively, through the mutually constituting effects of the object of study, the tools of exploration, and the practitioners themselves, when they are enmeshed in the cross-modally bound activities. These include, but are not limited to, remote sensing, surveying, mattocking, trowelling, drawing, photographing, videoing and sound recording. These marks represent the co-signatories: the gesture of the often anonymous practitioners, the voice of the deposits, as well as the imprint of the tools, and their interplay creates a multi-threaded narrative documenting their modes of intra-action, in short our practices. They occupy the conceptual space of paradata, and in the process of saturating the interstices of digital cognitive prosthetics they lend probity to their translations in both art form and archive.
    Original languageEnglish
    Pages (from-to)100-120
    Number of pages21
    JournalJournal of Visual Art Practice
    Volume17
    Issue number1
    Early online date13 Oct 2017
    DOIs
    Publication statusPublished - 2 Jan 2018

    Fingerprint

    Archaeologists
    Archaeology
    Artist
    Wales
    Works of Art
    Prosthetics
    Artistic Practice
    Archaeological Practice
    Improvisation
    Hillforts
    Conceptual Space
    Iron Age
    Interdisciplinary Collaboration
    Excavation
    Sound Recording
    Art Form
    Surveying
    Gesture
    Archaeological Record
    Remote Sensing

    Keywords

    • Archaeology
    • craftwork
    • contemporary drawing
    • embodied practice
    • meta-learning
    • paradata

    Cite this

    @article{0162278ad0fd42dfa9cb7f1cccdf9f56,
    title = "Different expressions of the same mode: a recent dialogue between archaeological and contemporary drawing practices",
    abstract = "In this article we explore what we perceive as pertinent features of shared experience at the excavations of an Iron Age Hillfort at Bodfari, North Wales, referencing artist, archaeologist and examples of seminal art works and archaeological records resulting through inter-disciplinary collaboration. We explore ways along which archaeological and artistic practices of improvisation become entangled and productive through their different modes of mark-making. We contend that marks and memories of artist and archaeologist alike emerge interactively, through the mutually constituting effects of the object of study, the tools of exploration, and the practitioners themselves, when they are enmeshed in the cross-modally bound activities. These include, but are not limited to, remote sensing, surveying, mattocking, trowelling, drawing, photographing, videoing and sound recording. These marks represent the co-signatories: the gesture of the often anonymous practitioners, the voice of the deposits, as well as the imprint of the tools, and their interplay creates a multi-threaded narrative documenting their modes of intra-action, in short our practices. They occupy the conceptual space of paradata, and in the process of saturating the interstices of digital cognitive prosthetics they lend probity to their translations in both art form and archive.",
    keywords = "Archaeology, craftwork, contemporary drawing, embodied practice, meta-learning, paradata",
    author = "Stefan Gant and Paul Reilly",
    year = "2018",
    month = "1",
    day = "2",
    doi = "10.1080/14702029.2017.1384974",
    language = "English",
    volume = "17",
    pages = "100--120",
    journal = "Journal of Visual Art Practice",
    issn = "1470-2029",
    publisher = "Taylor & Francis",
    number = "1",

    }

    Different expressions of the same mode: a recent dialogue between archaeological and contemporary drawing practices. / Gant, Stefan; Reilly, Paul.

    In: Journal of Visual Art Practice, Vol. 17, No. 1, 02.01.2018, p. 100-120.

    Research output: Contribution to journalArticleResearchpeer-review

    TY - JOUR

    T1 - Different expressions of the same mode: a recent dialogue between archaeological and contemporary drawing practices

    AU - Gant, Stefan

    AU - Reilly, Paul

    PY - 2018/1/2

    Y1 - 2018/1/2

    N2 - In this article we explore what we perceive as pertinent features of shared experience at the excavations of an Iron Age Hillfort at Bodfari, North Wales, referencing artist, archaeologist and examples of seminal art works and archaeological records resulting through inter-disciplinary collaboration. We explore ways along which archaeological and artistic practices of improvisation become entangled and productive through their different modes of mark-making. We contend that marks and memories of artist and archaeologist alike emerge interactively, through the mutually constituting effects of the object of study, the tools of exploration, and the practitioners themselves, when they are enmeshed in the cross-modally bound activities. These include, but are not limited to, remote sensing, surveying, mattocking, trowelling, drawing, photographing, videoing and sound recording. These marks represent the co-signatories: the gesture of the often anonymous practitioners, the voice of the deposits, as well as the imprint of the tools, and their interplay creates a multi-threaded narrative documenting their modes of intra-action, in short our practices. They occupy the conceptual space of paradata, and in the process of saturating the interstices of digital cognitive prosthetics they lend probity to their translations in both art form and archive.

    AB - In this article we explore what we perceive as pertinent features of shared experience at the excavations of an Iron Age Hillfort at Bodfari, North Wales, referencing artist, archaeologist and examples of seminal art works and archaeological records resulting through inter-disciplinary collaboration. We explore ways along which archaeological and artistic practices of improvisation become entangled and productive through their different modes of mark-making. We contend that marks and memories of artist and archaeologist alike emerge interactively, through the mutually constituting effects of the object of study, the tools of exploration, and the practitioners themselves, when they are enmeshed in the cross-modally bound activities. These include, but are not limited to, remote sensing, surveying, mattocking, trowelling, drawing, photographing, videoing and sound recording. These marks represent the co-signatories: the gesture of the often anonymous practitioners, the voice of the deposits, as well as the imprint of the tools, and their interplay creates a multi-threaded narrative documenting their modes of intra-action, in short our practices. They occupy the conceptual space of paradata, and in the process of saturating the interstices of digital cognitive prosthetics they lend probity to their translations in both art form and archive.

    KW - Archaeology

    KW - craftwork

    KW - contemporary drawing

    KW - embodied practice

    KW - meta-learning

    KW - paradata

    UR - http://www.tandfonline.com/loi/rjvp20

    U2 - 10.1080/14702029.2017.1384974

    DO - 10.1080/14702029.2017.1384974

    M3 - Article

    VL - 17

    SP - 100

    EP - 120

    JO - Journal of Visual Art Practice

    JF - Journal of Visual Art Practice

    SN - 1470-2029

    IS - 1

    ER -