DRAGOS GHEORGHIU is an historical anthropologist/archaeologist (PhD) and professional visual artist (BA Arch. and BA/MA Design) whose studies focus on the process of cognition, material culture and art. He began to produce works of art-and-archaeology starting in 1980, a concept he developed into artchaeology, and worked as a land-artist to reveal prehistoric monuments in Romania, Wales, Portugal and Sardinia. His recent research deals with the problem of immersion in reconstructed contexts in Augmented and Mixed Reality. Professor Gheorghiu is on the board of the UISPP Neolithic Commission, and is a member of the European Association of Archaeologists. He is a Paul Mellon Fellow at the Centre of Advanced Studies in the Visual Arts, National Gallery of Art, Washington, D.C. | THEODOR BARTH (Dr. Philos. Social Anthropology) works as a professor of theory and writing at the Oslo National Academy of the Arts (KHiO). His fieldwork is from Sarajevo and Zagreb in the mid-nineties. At the academy he works to involve writing in artistic practice, and to develop an experience-based understanding of artistic research and practice as a field, in aspects that resemble what anthropologists understand as fieldwork. He is involved in the development of the field of artistic research, publication as making and making public. His professional background: he has worked as a scientific researcher at the Norwegian Foundation of Research in Science and Technology (SINTEF), and as a research fellow at the University of Oslo. He is currently a member of the European Association of Archaeologists.

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• Contents; Introduction: Exposition and Transposition. Seeking an Ontologic Sensoriality in Contingencies – by Theodor Barth; Convergences: Archaeology and Art – by Giulio Calegari; Art as Entangled Material Practices. The Case of Late Iron Age Scandinavian Gold Foil Figures in the Making – by Ing-Marie Back Danielsson; The Mediality of Rock and Metal. Exploring Formal Analyses of Rock Art through Graffiti – by Fredrik Fahlander; The Diverse Sense of Frontality of Prehistoric Pottery: At the Time of Production, Deposition, and Publication/Exhibition – by Makoto Tomii; Art or Creativity? From Archaeological Photo-Ethnography to Art: Approaches to Two Contemporary Sites – by José Ant. Marmol Martinez; Heidegger at Work. An Archaeological Employment of a Theory of Truth in Art – by Ylva Sjostrand; Art and Thought – by Marcel Otte and Hans Lemmen; Experimenting the Art of Origins: Animating Images by Blowing Colours and Sounds – by Dragoş Gheorghiu; ‘Who’s Afraid of Virginia Woolf?’ Art, Archaeology and Forensic Anthropology – by Theodor Barth and Ane Thon Knutsen; Epigraphy in the Landscape: Intersections with Contemporary Ink Painting and Land Art – by Lia Wei; Magnetic Boulders. Unfolding Stone with Gestures and Light – by Geir Harald Samuelsen; PORØS: A Model of Resistance as Material Communication – by Neil Forrest and Theodor Barth; Virtual Art in Teaching and Learning Archaeology: An Intermedia to Augment the Content of Virtual Spaces and the Quality of Immersion – by Dragos Gheorghiu and Livia Stefan

DRAGOS GHEORGHIU is an historical anthropologist/archaeologist (PhD) and professional visual artist (BA Arch. and BA/MA Design) whose studies focus on the process of cognition, material culture and art. He began to produce works of art-and-archaeology starting in 1980, a concept he developed into artchaeology, and worked as a land-artist to reveal prehistoric monuments in Romania, Wales, Portugal and Sardinia. His recent research deals with the problem of immersion in reconstructed contexts in Augmented and Mixed Reality. Professor Gheorghiu is on the board of the UISPP Neolithic Commission, and is a member of the European Association of Archaeologists. He is a Paul Mellon Fellow at the Centre of Advanced Studies in the Visual Arts, National Gallery of Art, Washington, D.C. | THEODOR BARTH (Dr. Philos. Social Anthropology) works as a professor of theory and writing at the Oslo National Academy of the Arts (KHiO). His fieldwork is from Sarajevo and Zagreb in the mid-nineties. At the academy he works to involve writing in artistic practice, and to develop an experience-based understanding of artistic research and practice as a field, in aspects that resemble what anthropologists understand as fieldwork. He is involved in the development of the field of artistic research, publication as making and making public. His professional background: he has worked as a scientific researcher at the Norwegian Foundation of Research in Science and Technology (SINTEF), and as a research fellow at the University of Oslo. He is currently a member of the European Association of Archaeologists.

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• Contents; Introduction: Exposition and Transposition. Seeking an Ontologic Sensoriality in Contingencies – by Theodor Barth; Convergences: Archaeology and Art – by Giulio Calegari; Art as Entangled Material Practices. The Case of Late Iron Age Scandinavian Gold Foil Figures in the Making – by Ing-Marie Back Danielsson; The Mediality of Rock and Metal. Exploring Formal Analyses of Rock Art through Graffiti – by Fredrik Fahlander; The Diverse Sense of Frontality of Prehistoric Pottery: At the Time of Production, Deposition, and Publication/Exhibition – by Makoto Tomii; Art or Creativity? From Archaeological Photo-Ethnography to Art: Approaches to Two Contemporary Sites – by José Ant. Marmol Martinez; Heidegger at Work. An Archaeological Employment of a Theory of Truth in Art – by Ylva Sjostrand; Art and Thought – by Marcel Otte and Hans Lemmen; Experimenting the Art of Origins: Animating Images by Blowing Colours and Sounds – by Dragoş Gheorghiu; ‘Who’s Afraid of Virginia Woolf?’ Art, Archaeology and Forensic Anthropology – by Theodor Barth and Ane Thon Knutsen; Epigraphy in the Landscape: Intersections with Contemporary Ink Painting and Land Art – by Lia Wei; Magnetic Boulders. Unfolding Stone with Gestures and Light – by Geir Harald Samuelsen; PORØS: A Model of Resistance as Material Communication – by Neil Forrest and Theodor Barth; Virtual Art in Teaching and Learning Archaeology: An Intermedia to Augment the Content of Virtual Spaces and the Quality of Immersion – by Dragos Gheorghiu and Livia Stefan

DRAGOS GHEORGHIU is an historical anthropologist/archaeologist (PhD) and professional visual artist (BA Arch. and BA/MA Design) whose studies focus on the process of cognition, material culture and art. He began to produce works of art-and-archaeology starting in 1980, a concept he developed into artchaeology, and worked as a land-artist to reveal prehistoric monuments in Romania, Wales, Portugal and Sardinia. His recent research deals with the problem of immersion in reconstructed contexts in Augmented and Mixed Reality. Professor Gheorghiu is on the board of the UISPP Neolithic Commission, and is a member of the European Association of Archaeologists. He is a Paul Mellon Fellow at the Centre of Advanced Studies in the Visual Arts, National Gallery of Art, Washington, D.C. | THEODOR BARTH (Dr. Philos. Social Anthropology) works as a professor of theory and writing at the Oslo National Academy of the Arts (KHiO). His fieldwork is from Sarajevo and Zagreb in the mid-nineties. At the academy he works to involve writing in artistic practice, and to develop an experience-based understanding of artistic research and practice as a field, in aspects that resemble what anthropologists understand as fieldwork. He is involved in the development of the field of artistic research, publication as making and making public. His professional background: he has worked as a scientific researcher at the Norwegian Foundation of Research in Science and Technology (SINTEF), and as a research fellow at the University of Oslo. He is currently a member of the European Association of Archaeologists.

Select Guide Rating

• Contents; Introduction: Exposition and Transposition. Seeking an Ontologic Sensoriality in Contingencies – by Theodor Barth; Convergences: Archaeology and Art – by Giulio Calegari; Art as Entangled Material Practices. The Case of Late Iron Age Scandinavian Gold Foil Figures in the Making – by Ing-Marie Back Danielsson; The Mediality of Rock and Metal. Exploring Formal Analyses of Rock Art through Graffiti – by Fredrik Fahlander; The Diverse Sense of Frontality of Prehistoric Pottery: At the Time of Production, Deposition, and Publication/Exhibition – by Makoto Tomii; Art or Creativity? From Archaeological Photo-Ethnography to Art: Approaches to Two Contemporary Sites – by José Ant. Marmol Martinez; Heidegger at Work. An Archaeological Employment of a Theory of Truth in Art – by Ylva Sjostrand; Art and Thought – by Marcel Otte and Hans Lemmen; Experimenting the Art of Origins: Animating Images by Blowing Colours and Sounds – by Dragoş Gheorghiu; ‘Who’s Afraid of Virginia Woolf?’ Art, Archaeology and Forensic Anthropology – by Theodor Barth and Ane Thon Knutsen; Epigraphy in the Landscape: Intersections with Contemporary Ink Painting and Land Art – by Lia Wei; Magnetic Boulders. Unfolding Stone with Gestures and Light – by Geir Harald Samuelsen; PORØS: A Model of Resistance as Material Communication – by Neil Forrest and Theodor Barth; Virtual Art in Teaching and Learning Archaeology: An Intermedia to Augment the Content of Virtual Spaces and the Quality of Immersion – by Dragos Gheorghiu and Livia Stefan