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!

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A Restoration – Reviewed

I’m currently sitting in the cafe beneath The Ashmolean in Oxford. It’s bustling with tourists, seniors and families taking a break from the collections above and the rain outside. I’ve taken refuge from the museum above because my mind has just been completely overloaded – and I haven’t even visited a single exhibition space yet. I’ve just come straight from seeing Elizabeth Price’s ‘A Restoration’: a video-art installation based on the archives of Sir Arthur Evans, the English archaeologist who excavated Crete’s Knossos in 1900. It’s a stunning artwork. Literally. Set in a dedicated dark space, surrounded by speakers and flashing phrenetically across two screens, the viewer is bombarded with successive layers of poetic narration (of a synthetic disembodied collective voice of imaginary administartors), percussive electronic music (think Yann Tiersen’s ‘Amelie’ soundtrack crossed with Jamie XX), and cleverly edited archival images (historical and modern photographs of artefacts, drawings, maps, graphics and clever animations bring to life both Minoan iconography as well as computer archival icons). In this way, like Alice through the rabbit hole, or Theseus in the labyrinth, ‘A Restoration’ takes you ever deeper into the world of the mysterious administrators.

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‘A Restoration’ is not a politically or culturally critical artwork – especially compared to some of the recent video-art installation works disentangling (post)-colonialism, museology and repatriation which I saw attached to the joint British Museum – National Museum of Australia exhibit (how I wish that exhibit had toured to the UK! I may have to write about that exhibit and its use of art and video too actually…). Instead, ‘A Restoration’ is a playful, gentle, exploratory, and softly satirical work, commenting more on the limitations of our ways of knowing and envisioning the past, and our possibly naïve attempts to reconstruct the past in some ideal form. It has a very European sensibility to it: testing but also ultimately propagating the notion of Knossos as the fount of European civilization, constructed seed by seed, brick by brick, person by person – as illustrated in the fragments composed together like a giant jigsaw puzzle of the past. It concludes somewhat ambiguously – which to me is a reminding that in the end our attempts to preserve the remains of the past can only be at best, temporary.

You can see a trailer of ‘A Reconstruction’ on the Guardian website, and on Elizabeth Price’s website. The exhibit continues for 5 more days until 15th March.

Marina Warner wrote a lovely essay on the exhibit, which was available on site as a pamphlet. Hopefully it will be published after the exhibit. Keep an eye out.

 

The debut of Stonehenge on the silver screen

It’s just been brought to my attention that the BFI has finally made their footage of Stonehenge from 1900 publicly available online (until now you needed to visit their mediatheque in person or log in via an institution to see it). I’ve been trying to chase details on the background and life of this footage for a while now, so I’m glad it’s now officially in the public domain so I can share the love.

My question is: could this be the oldest surviving footage of an archaeological site on film?

The cool thing about such material is it raises interesting possibilities about using old footage as an alternative form of evidence for interpreting archaeological sites – and if you’re interested in that then you might be interested in Amara Thornton’s research and UCL’s Filming Antiquity project. There is so material much on shelves, in private homes and in public institutions, trapped on celluloid and slowly rotting away, so it’s great to see action being taken in this field. Very cool stuff.

Check it out and let us know what you think! Happy Monday!

Going Deeper: 6 Tips for Filming at Archaeology Excavations

Well, I’ve just arrived back from a month’s field work and filming in Greece and while the field directors gets on with the data processing and report writing, I’m chasing a couple of final permits and getting ready to crack into the edit. I haven’t even sat through most of the footage yet so I don’t want to discuss the production too closely and prematurely (that is, afterall, what the thesis is for). But I was very pleased to get some feedback on my blog from readers the other day – apparently there are a few of you who regularly visit this blog for tips and discussion on archaeology documentary filmmaking! Thus validating my procrastination – I mean, public outreach – so bless you (and supervisors please take note). So whilst this last project is fresh on my mind, here are a 6 quick technical tips that I’ve picked up along the way and plan to apply to my filming practice next time, which might also be useful to others. A lot of this is basic stuff you’ll find in any documentary textbook or masterclass on youtube, but here I’ve tailored it to shooting on terrestrial archaeological excavations:

1. White balance! Do not trust automatic white balancing – everything will be blue. Archaeology sites change colour completely over the course of a day as the sun hits the soil and the weather turns, and depending on where and how hard the shade is. So if you want to capture things like soil contexts you have to be constantly checking that your white balance matches as close as possible to what your eye is actually seeing, especially if you plan to shoot the same context over different days.

2. Check your lens. Every 5 minutes. Not kidding. There is so much dirt and grass flying around. Aim at the sky and see if there’s specks showing up. Keep your lens cap, tissues and fluid on you. When not filming, but needing the camera available and ready to go, I also took to sitting my camera on a nifty stool and throwing a towel over it to try and minimise the dirt and dust getting on/into it.

3. Check your switches and settings regularly. Handheld shooting means cameras get knocked about a lot, and I know there was at least one morning where I must have accidentally knocked my sound input channel switch so I had the weaker mic running to both channels and didn’t notice in time, despite wearing cans religiously. You can use camera tape to fix switches make sure this doesn’t happen.

4. Shoot entire takes with a beginning, middle and end – nicely paced – don’t shoot to cut. This was a really hard lesson for me as I shoot to cut by instinct (based on my training), and had to keep pulling myself up on it. You see, there’s so much intrusive noise at archaeology sites (multiple conversations, music, farming machinery, road traffic, air traffic, animals, wind) that takes of full “scenes” might be the only way to actually capture narrative-friendly footage – I dread to think how I’m going to go about cutting some of the material I have. You can ask people nearby to lower their voices when shooting, and turn off music, you can use radio-mics – but that’s approaching “set dressing” in some ways, it’s a step away from “actualité”, so that’s something you’ll have to decide for yourself, depending on your mode, how strict you are about it, and where you want to take the final film. Ideally of course, have a skilled sound recordist on the boom.

5. Pick your moments. Deciding when it was appropriate to ask questions or to initiate discussions was very difficult, sometimes it worked nicely, sometimes it was forced for both myself and the participants and that left a bad taste in people’s mouths (although my participants were extraordinarily good humored and patient with me). Obviously the archaeological work must have priority, but there’s no point being there at all and putting people through the demands of a shoot if you don’t do your job properly as well. You cannot go back for pick ups – you literally have one shot. At the same time, you can’t film everything, especially if you have limited battery or storage space. So you have to be strategic and get a feel for and play to the dynamics on site, and strike the right balance between going with the flow and pushing enough to get beyond superficial observation. You can arrange for a formal time to discuss what’s happening on site, eg. 5 minutes at the beginning and end of each day – which I didn’t do (I did this in a more ad-hoc fashion), and I regret not doing it as a back up, but again, that can force a performance or even worse, send people into lecture mode and waste everyone’s time and energy. So it depends on your style and your participants. It’s something to be negotiated and trialed.

6. I didn’t use a tripod or body rig at all – a deliberate decision, following verité conventions after filmmakers like Dineen and Churchill – and I’m still not sure if it was worth it. My wrist was quite damaged by the end of the dig, affecting my ability to maneuver the camera, and even a week later typing this blog entry hurts. Also, it’s hard to pull focus and remain steady on distance shots and close ups on artefacts when filming hand held. On the other hand (heh), I could follow the action much more easily than if I was locked into a tripod or rig, I could move across sensitive areas of the site quickly, and I’d rather all the shots match in terms of feel and movement. So… I’m still considering what’s best here.

These notes are just scratching the surface of course, and what I haven’t discussed here is the relationship between filmmakers and participants which is the real key to a successful shoot. Now, I’m prepping to enter the logging, transcribing and edit of the film, along with more thesis writing and consultations with my participants which I hope will continue through the rest of post-production and the larger research project. So, stay tuned for more details as the edit progresses, as well as more film reviews, news and debate about archaeology documentary filmmaking.

Photo: St Clair-Smith 2015.

And don’t forget to press record!

Archdox is going to be on hiatus for a month as I’ll be out putting my money where my mouth typing is by filming a 4-week archaeological excavation in Greece. Stay tuned though, because if all goes to plan, I’ll be writing about the experience for months to come as one of my PhD case studies. Expect much reflecting on dumb mistakes the getting of archaeological wisdom. There might even be a real, broadcast-able documentary in it. Might be.

In the meantime you can still follow me @archdox on twitter and on facebook!