The archaeological eye: visualisation and the institutionalisation of academic archaeology in London


Perry, Sara Elizabeth (2011) The archaeological eye: visualisation and the institutionalisation of academic archaeology in London. University of Southampton, Faculty of Humanities, Doctoral Thesis , 381pp.

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Description/Abstract

Archaeologists have long scrutinised the relationship of images to disciplinary knowledge creation. However, to date, very little attention has been given to archaeological visual media and visual methods as generative tools. Visualisations work to make things possible—income, infrastructure, status, security, ideas and expertise—and their shrewd application has significant consequences for professional development and conceptual/methodological growth.

The following thesis embarks on a micro-scale study of the mid-20th century establishment of the Institute of Archaeology (IoA) at the University of London to demonstrate the extent to which visualisation is embedded in, and accountable for, the foundation of academic archaeological studies in Britain. Drawing on results from extensive archival enquiry and interviews, this research stands as an account of institutional development told not through the standard lens of biography or intellectual evolution, but through analysis of the strategic management of visual material culture and graphic performance (i.e., photographs, illustrations, models, display collections, TV, exhibitions, illustrated lectures and conferences). It traces the early history of the IoA through a series of formative events from the mid-1920s to the end of World War II wherein visual media are mobilised to dramatic effect in the coming-into-being of scholarly archaeology in London, and in the post-war regeneration of British culture. Particular attention is paid to the entanglement of visualisation in the IoA’s pioneering work on the first archaeological television programmes; the standardisation of archaeological photography; the acquisition and display of the Petrie Palestinian collection; the launching of one-of-a-kind graphic industrial/laboratory units; and the training of the earliest generations of accredited field practitioners.

This project is prompted by a desire to overturn two fundamentally unsustainable standpoints. Firstly, visual culture tends to be fallaciously constituted in archaeology—and beyond—as a recent phenomenon whose origins stretch back no more than a few decades (conveniently coinciding with the rise of digital graphic production). However as I argue here, calculated and skilful manipulation of optical media has a deep legacy, implicated in even the most basal levels of the discipline’s intellectual and organisational consolidation. Secondly, visual representation as a sub-field of enquiry is often relegated to the sidelines of ‘legitimate’ practice—dismissed as ephemeral and unrobust, or irrelevant to the fundamentals of archaeology. I counter such perspectives by outlining the rich and prescient history of critical graphic studies in the discipline. I then demonstrate that savvy visualisation can, in fact, breed concrete professional outcomes for archaeologists, providing the infrastructure to develop and refine our methods, the cognitive tools to reconceptualise aspects of the archaeological record, and the commercial capital to sustain and propagate the field.

At once a chronicle of the IoA’s heritage and a testament to the power of visual media, this thesis situates imagery as a forcible actor in the struggle for disciplinary sovereignty and scholarly authority. Ultimately, it speaks not just of the importance of visualisation to archaeology’s past, but so too of its potential for negotiating our future.

Item Type: Thesis (Doctoral)
Subjects: C Auxiliary Sciences of History > CC Archaeology
L Education > LB Theory and practice of education > LB2300 Higher Education
Divisions: Faculty of Humanities > Archaeology
ePrint ID: 344699
Date Deposited: 29 Oct 2012 12:09
Last Modified: 30 Jun 2014 23:03
URI: http://eprints.soton.ac.uk/id/eprint/344699

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