This is a book about how archaeologists map, what they map and why they seek to map it. It is about the theoretical frameworks and craft traditions that underpin our established cartographic practices and the emergent assemblages of technologies, performances, desires and ways-of-doing that are giving rise to wholly new modes of mapping.
This is a book about how archaeologists map, what they map and why they seek to map it. It is about the theoretical frameworks and craft traditions that underpin our established cartographic practices and the emergent assemblages of technologies, performances, desires and ways-of-doing that are giving rise to wholly new modes of mapping.
Mark Gillings is a Reader in Archaeology at the University of Leicester specialising in the theory and practice of Landscape Archaeology. His fascination with archaeological theory, fieldwork, Geographical Information Systems and prehistoric monumentality are reflected in books such as Spatial Technologies and Archaeology (2002); Avebury (2004); Landscape of the Megaliths (2008) and, most recently, a four-volume critical reader in Landscape Archaeology (2016). Piraye Hac¿güzeller is a postdoctoral researcher at the Ghent Centre for Digital Humanities and the Archaeology Department of Ghent University. She has carried out postdoctoral research on the archaeological applications of GIS and critical mapping at KU Leuven and the University of Oxford, and is currently tasked with coordinating geospatial information activities at the Ghent Center for Digital Humanities. Gary Lock is Emeritus Professor of Archaeology at the University of Oxford, with a long-standing interest in the use of computers in archaeology ( Using Computers in Archaeology. Towards Virtual Pasts, 2003). He is particularly interested in the use of Geographical Information Systems in archaeology and their relationship to landscape theory and fieldwork practice (Archaeology and Geographical Information Systems, 1995; Beyond the Map. Archaeology and Spatial Technologies, 2000).
Inhaltsangabe
Acknowledgements Contributors Chapter 1 On maps and mapping PART 1 Where do maps come from and what do they do? Chapter 2 The map as assemblage: landscape archaeology and mapwork Chapter 3 Cults of the distribution map: geography, utopia and the making of modern archaeology Chapter 4 Feminist mapping for archaeologists: at the intersection of practices PART 2 Practices of mapping Chapter 5 The eye of the beholder: experience, encounter and objectivity in archaeo-topographical survey Chapter 6 The craft of earthwork survey PART 3 Experimental mappings and cartographic provocations Chapter 7 Experimental mapping in archaeology: process, practice and archaeologies of the moment Chapter 8 Here be worms: map art for the archaeologist (or how I learned to stop worrying and love artistic abstraction in maps) Chapter 9 Describing Hermion/Ermioni. Between Pausanias and digital maps, a topology Chapter 10 Re-thinking the conversation: a geomythological deep map 11 Mapping sound: creating a static soundscape PART 4 Digital transformations Chapter 12 Archaeology, digital cartography and the question of progress: the case of Çatalhöyük (Turkey) Chapter 13 Cartography and quantum theory: in defence of distribution mapping PART 5 When all is said and done Chapter 14 Making maps: a commentary Index
Acknowledgements Contributors Chapter 1 On maps and mapping PART 1 Where do maps come from and what do they do? Chapter 2 The map as assemblage: landscape archaeology and mapwork Chapter 3 Cults of the distribution map: geography, utopia and the making of modern archaeology Chapter 4 Feminist mapping for archaeologists: at the intersection of practices PART 2 Practices of mapping Chapter 5 The eye of the beholder: experience, encounter and objectivity in archaeo-topographical survey Chapter 6 The craft of earthwork survey PART 3 Experimental mappings and cartographic provocations Chapter 7 Experimental mapping in archaeology: process, practice and archaeologies of the moment Chapter 8 Here be worms: map art for the archaeologist (or how I learned to stop worrying and love artistic abstraction in maps) Chapter 9 Describing Hermion/Ermioni. Between Pausanias and digital maps, a topology Chapter 10 Re-thinking the conversation: a geomythological deep map 11 Mapping sound: creating a static soundscape PART 4 Digital transformations Chapter 12 Archaeology, digital cartography and the question of progress: the case of Çatalhöyük (Turkey) Chapter 13 Cartography and quantum theory: in defence of distribution mapping PART 5 When all is said and done Chapter 14 Making maps: a commentary Index
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