Brian Leigh Molyneaux – författare

Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think.With subjects including prehistoric artworks, excavation illustrations, artists' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past.This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.

Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think.With subjects including prehistoric artworks, excavation illustrations, artists' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past.This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.

Excavation is traditionally considered the heart of the archaeological enterprise. But it is an activity transformed over the past two decades of increasingly contract-based work. Carmichael and Lafferty lay out the basics of this brand of excavation for the novice reader in this handy, practical guide. After outlining the ethical concerns in archaeological excavation and the history of the endeavor, the authors walk the reader through the steps of contemporary excavation—site identification, remote sensing, test excavation, and various scales of recovery. They also deal with the complex issues of human burials uncovered in excavation. Written in an accessible, practical way, Carmichael and Lafferty's guide will be useful to students, field school attendees, and other novice fieldworkers.

Two longtime fieldworkers offer mentors' advice on finding and mapping archaeological sites. They outline the logic behind field surveying and the various designs used for survey projects. Recognizing that logistical issues—like schedule, budget, and equipment—are equally important to complete the job, particularly in a cultural resource management context, the authors also guide new professionals through the practical details of their work. The volume also ranges through the legal and ethical context of fieldwork and the various geophysical methods available for non-intrusive surveying. As a handy guide for novices, or a text for students and field schools, Collins and Molyneaux's book will be the place to start.

Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think.With subjects including prehistoric artworks, excavation illustrations, artists'' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past.This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.

Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think.With subjects including prehistoric artworks, excavation illustrations, artists'' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past.This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.

Two longtime fieldworkers offer mentors' advice on finding and mapping archaeological sites. They outline the logic behind field surveying and the various designs used for survey projects. Recognizing that logistical issues—like schedule, budget, and equipment—are equally important to complete the job, particularly in a cultural resource management context, the authors also guide new professionals through the practical details of their work. The volume also ranges through the legal and ethical context of fieldwork and the various geophysical methods available for non-intrusive surveying. As a handy guide for novices, or a text for students and field schools, Collins and Molyneaux's book will be the place to start.