All posts by archdox

I'm an archaeology PhD student at the University of Southampton, in the United Kingdom, turning my lens on archaeology documentaries. When not stooped over my laptop in the office, I work as a consultant archaeologist and independent filmmaker (and sometimes both at once).

CAA 2018 CFP: Making the Most of Film and Video in Archaeology

[UPDATE: CFP has been extended until November 5 11:59 PM CET].

I’m delighted to announce the call for papers for the Making the Most of Film and Video in Archaeology session, to be held at the Computing Applications and Quantitative Methods in Archaeology (CAA) international conference, March 19th and 23rd 2018 at the University of Tübigen, Germany. In this session we seek to bring archaeologists and computing specialists together to explore, problematize, and suggest creative but critically informed solutions to the challenges of integrating film and video into archaeological research designs.


MAKING THE MOST OF FILM AND VIDEO IN ARCHAEOLOGY

Keywords: Film, video, actuality, recording, filmmaking, digital archiving, databases, social media, online platforms, research design.

Despite the fact that archaeologists have experimented with various forms of filmmaking for a century we are still yet to develop a pragmatic approach to how best to integrate actuality film and video recording, editing, and archiving into our research project designs. As mediums merge and digital platforms multiply, as coders begin to replace film editors, as media technologies, standards, laws, and conventions shift – now is a timely moment to take stock and consider how we can make better use of actuality film and video in archaeological contexts. Key challenges include how to address the disconnected digital archives of historical archaeological film footage increasingly available online; how to better integrate drone, underwater, and site videography into archaeological research design and dissemination strategies; and how to better foster media literacy and skills among archaeologists tasked with researching, designing, recording, editing, managing, distributing, and digitally archiving film and video material.

This session seeks to cross industry and disciplinary boundaries by inviting archaeological scholars and computing specialists to problematise and bring fresh perspectives to the above issues by suggesting future directions for how we can make the most of digital actuality film and video in archaeology.

Suggested themes and topics include but are not restricted to:

  • Film and video as archaeological data.
  • Digital archiving, database management, and accessibility for archaeological films and videos.
  • Working with video files – what archaeologists need to know.
  • Using film and video in academic publishing.
  • The pros and cons of vlogging, social media, and online video platforms for archaeology.
  • Merging the mediums: approaches to combining actuality footage with animation, VR, AR and more.
  • Coding: the future of film editing? How we can futureproof digital archaeological storytelling.

Please note: the term ‘actuality’ is borrowed from the documentary industry and used here to describe non-fiction films and videos of actual people, places, and events – as distinct from animated or fiction films and videos.


The call for papers has just opened and will run until Sunday 29nd October 2017 Sunday 5th November 23:59 CET. Applicants will need to register with the CAA conference to submit your paper to our session. Abstracts for papers should be no more 250 words excluding session title, author names, affiliations, and email addresses and 3 – 5 keywords. Please note, the official language of the conference is English and all submissions should be in English. If English is not your first language, it is strongly suggested that you have a fluent English speaker review your abstract before submission.

You can find detailed instructions for how to submit at the CAA website.

Looking forward to hearing from you!

Kate Rogers, University of Southampton, kate.rogers@soton.ac.uk

Dr James Miles, Archaeovision, james@archaeovision.eu

 

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Sightations – on demand!

Last year I was privileged to collaborate with fellow PhD students and archaeologists Joana Valdez-Tullett, Helen Chittock, Grant Cox,  Eleonora Gandolfi and Emilia Mataix Ferrándiz to run the inaugural Sightations exhibition: an art/digital/film showcase at the Theoretical Archaeology Group Conference 2016. The gallery’s aim was to unpack what it meant to represent archaeology visually in 2016, in keeping with the wider TAG conference theme. By juxtaposing traditional art forms (such as drawings, photography, painting, sculpture, textiles, ceramic, and more) with digital approaches to representation (digital media, CGI, film, video, gaming, virtual reality, cross- or multi-platform works), Sightations aimed to reveal new links between different disciplines, industries and sectors of archaeology with an eye towards future directions for archaeological visualizations.

In tandem with the exhibition we also ran conference sessions within the gallery space – an opportunity for some of our contributors to be able to discuss their works in greater depth – and I’m delighted to say that some of these presentations can now be viewed on YouTube thanks to the hardworking team at Recording Archaeology. So, without further ado, I encourage you to check out the inspiring and though provoking work of the Sightations artists, archaeologists, media-makers and creatives:

 

 

In Defence of Authorship in Archaeological Visualisations

As with Sightations, I’m pleased to be able to share some of the talks from the TAG 2016 conference session ‘From Amatuers to Auteurs: In Defence of Authorship in Archaeological Visualisations’, organised by myself and Grant Cox, and filmed and uploaded to YouTube by the lovely team at Recording Archaeology.

The session abstract:

Archaeology borrows and adapts visualisation mediums and techniques from a range of artistic and creative practices including drawing, photography, film, gaming, digital animation and virtual reality. But do we take these visualisation practices as seriously as we do our scientific ones – or do we merely skim the surface of them, depriving ourselves of a deeper and more critical understanding of how the past is interpreted and understood? A key element of any art form, but arguably often side-lined in archaeology, is the visual author’s presence and ‘voice’. Following auteur theory this house argues that the author’s voice in visual representations of archaeology deserves equal regard to that of the author’s voice in written archaeological works. Such a shift in values would necessitate archaeologists becoming more visually and technically literate in visual art-forms and industries in order to not only appreciate but meaningfully be able to critique and translate archaeological visualisations on a deeper level. Not only would this enhance the rights to the creators of archaeological visualisations (such as recognition, ownership and copyright), but it would also demand greater responsibility, transparency and accountability for the archaeological visualisations created.

This session invites practitioners of visual archaeologies and those who research visual representations of archaeology to critique and debate the above argument, interrogating the value and role of the author’s voice in visualising archaeology. We seek to include a range of visual forms and mediums, inclusive of but not limited to drawing, photography, video, film, gaming, digital animation, AR, VR and mixed-mediums. Archaeologists, artists, heritage professional, industry practitioners and those who straddle multiple roles are warmly welcome to submit.

Shooting Archaeologists – in York!

Happy New Year and greeting from York! I’m delighted to announce that I’ll be giving another seminar about the Off The Record survey findings this Tuesday at 5:15 at the University of York, which you are welcome to attend in person or to stream online. This seminar expands on the paper I gave at the World Archaeology Congress last year and I’m very glad to be able to give more detail and context this time around, so if you came to WAC please still consider tuning in for the director’s cut, as it were.

Here is the spiel courtesy of Dr Sara Perry:

YOHRS returns next week with Kate Rogers (University of Southampton) on Shooting Archaeologists: Uncovering the Relationship Between Archaeology and Documentary Filmmaking at 5.15pm, Tuesday 31 January in King’s Manor 159. Wine will be served from 5.15pm, with presentation starting at 5.30pm. Please join us in person or online!

Shooting Archaeologists: Uncovering the Relationship Between Archaeology and Documentary Filmmaking
Tuesday 31 January 2017, 5.15pm
Speaker: Kate Rogers (University of Southampton)

Who calls the shots in archaeology documentaries – and why? This research investigates UK archaeology’s relationship with UK documentary filmmaking, historically, currently, and with an eye to future directions. Uniquely however, this relationship is considered from the angle of film production as seen from an archaeological perspective. The results from the 2016 ‘Off the Record: Archaeology and Documentary Filmmaking’ survey will be presented and analysed, providing an up-to-date profile of the experiences and attitudes of UK archaeologists who have worked in archaeology documentaries between 2006 and 2016. This new evidence allows us to move the debate about archaeology’s representation in documentary from one primarily reliant on anecdote, to one grounded in evidence, enabling us to better define archaeology’s place within the media, and documentary’s place within archaeology.

Location: King’s Manor / 159

Free & open to all. Join us for wine at 5.15pm, with talk beginning at 5.30pm. This is a YOHRS (York Heritage Research Seminars) event live-streamed through http://www.youtube.com/uofyarchaeology

Please see the full schedule of YOHRS talks online at:

http://www.york.ac.uk/archaeology/news-and-events/events/external/heritage-research/

CFP: From amateurs to auteurs: in defence of authorship in archaeological visualisations

I’m very excited to announce that I’m working with digital artist and archaeologist Grant Cox, from ArtasMedia to bring a session about the importance of the creator’s voice in archaeological visualisations to the Theoretical Archaeology Group conference this December.

Here’s the spiel:

Archaeology borrows and adapts visualisation mediums and techniques from a range of artistic and creative practices including drawing, photography, film, gaming, digital animation and virtual reality. But do we take these visualisation practices as seriously as we do our scientific ones – or do we merely skim the surface of them, depriving ourselves of a deeper and more critical understanding of how the past is interpreted and understood? A key element of any art form, but arguably often side-lined in archaeology, is the visual author’s presence and ‘voice’. Following auteur theory, this house argues that the author’s voice in visual representations of archaeology deserves equal regard to that of the author’s voice in written archaeological works. Such a shift in values would necessitate archaeologists becoming more visually and technically literate in visual art-forms and industries in order to not only appreciate but meaningfully be able to critique and translate archaeological visualisations on a deeper level. Not only would this enhance the rights to the creators of archaeological visualisations (such as recognition, ownership and copyright), but it would also demand greater responsibility, transparency and accountability for the archaeological visualisations created.

This session invites practitioners of visual archaeologies and those who research visual representations of archaeology to critique and debate the above argument, interrogating the value and role of the author’s voice in visualising archaeology. We seek to include a range of visual forms and mediums, inclusive of but not limited to drawing, photography, video, film, gaming, digital animation, AR, VR and mixed-mediums. Archaeologists, artists, heritage professional, industry practitioners and those who straddle multiple roles are warmly welcome to submit. This session partners with TAG 2016’s art/digital/film exhibition ‘Sightations’, running on site throughout the TAG conference, and session speakers are warmly encouraged to display an example of their work in the exhibit. For more information on the exhibit please see ‘Sightations’ call for contributors.

If you’d like to be part of our session please send you name(s), affiliations, title of paper, and abstract of 250 words, to jeffers113@gmail.com or ker1g14@soton.ac.uk. We’re accepting submissions until November 15th. If you have any question please don’t hesitate to get in touch, and please share this page with anyone you think might be interested!

Shooting Archaeologists at WAC-8

Kon’nichiwa! Watashi wa Kokogaku-sha des. Sake wa doko des ka?

[Hello! I am an archaeologist. Where is the beer?]

Greetings from the 8th World Archaeology Congress, currently  underway in beautiful Kyoto, Japan. I’m going to give a short presentation introducing the Off The Record research project this coming Friday – perhaps if you’re at WAC you might care to come listen? Or if you have friends or colleagues at WAC who might be interested, you could be so kind as to point them in my direction? Sadly 15 minutes is barely enough to scratch the surface of the topic, but hopefully this will help wet folks appetites for more discourse about archaeology in the media!

Session: T08-E Showing Better Archaeology, Doing Better Archaeology

Room: RY321

Time: 9:00 – 11:00

The spiel (abstract):

“Shooting Archaeologists. Off the Record: Archaeology and Documentary Filmmaking”

Who calls the shots in archaeology documentaries – and why? This paper investigates archaeology’s relationship with UK documentary filmmaking. Uniquely however, this relationship is considered from the angle of film production as seen from an archaeological perspective. The first stage of results from the ‘Off the Record: Archaeology and Documentary Filmmaking’ PhD research project will be presented, including up-to-date findings from a survey of UK archaeologists working in the documentary sector, reflecting on their experiences, values, concerns and hopes for the genre. This new evidence allows us to better determine archaeology’s place within the media, and documentary’s place within archaeology.

See you there!

IMG_1841
Even the Okonomiyaki comes with a trowel.

 

 

 

 

 

 

 

TAG 2016, Sightations, and a very different CFP!

Are you an archaeologist? Are you an artist? Are you a bit of both? TAG 2016 Needs You! I am absolutely delighted to share a very special call for contributors to this December’s UK Theoretical Archaeology Group conference. Instead of papers we want your paintings. And your pastels. Your pencils and papers and printed works. Your pottery. Your pixels especially. Perhaps even your performance art.

I’m very excited and honored to be collaborating with fellow PhD students and archaeologists Joana Valdez-Tullett, Helen Chittock, Grant Cox and Eleonora Gandolfi to bring to the UK archaeology community the inaugural Sightations gallery – an art/digital/film showcase running as part of this year’s TAG. In keeping with this year’s overall conference theme of ‘visualisation’, this gallery seeks to unpack what it means to represent archaeology visually in 2016. By juxtaposing traditional art forms (such as drawings, photography, painting, sculpture, textiles, ceramic, and more) with digital approaches to representation (digital media, CGI, film, video, gaming, virtual reality, cross- or multi-platform works), Sightations takes aim at archaeological visual conventions and strives to reveal new links between different disciplines, industries and sectors of archaeology, drawing connections between ideas with an eye towards future directions for archaeological visualizations.

You can find out more about Sightations, including how to contribute your work, by visiting the TAG 2016 conference website; and by following us on Facebook and twitter @SightationsTAG. You can also drop us an email at info@artasmedia.com.

We’re also planning to run a more traditional conference session or two tied in with the exhibition, so if you’re interested in presenting your ideas formally, as well as exhibiting your work, please stay tuned!