While many acknowledge that Friedrich Nietzsche and Michel Foucault have redefined our notions of time and history, few recognize the crucial role that 'the infinite relation' between seeing and saying plays in their work. Shapiro reveals the full extent of Nietzsche and Foucault's concern with the visual.

This book provides a broad overview of the key concepts in public archaeology, a research field that examines the relationship between archaeology and the public, in both theoretical and practical terms. While based on the long-standing programme of undergraduate and graduate teaching in public archaeology at UCL’s renowned Institute of Archaeology, the book also takes into account the growth of scholarship from around the world and seeks to clarify what exactly ‘public archaeology’ is by promoting an inclusive, socially and politically engaged vision of the discipline. Written for students and practitioners, the individual chapters provide textbook-level introductions to the themes, theories and controversies that connect archaeology to wider society, from the trade in illicit antiquities to the use of digital media in public engagement, and point readers to the most relevant case studies and learning resources to aid their further study. This book was produced as part of JISC's Institution as e-Textbook Publisher project. Find out more at https://www.jisc.ac.uk/rd/projects/institution-as-e-textbook-publisher Praise for Key Concepts in Archaeology 'Littered throughout with concise and well-chosen case studies, Key Concepts in Public Archaeology could become essential reading for undergraduates and is a welcome reminder of where archaeology sits in UK society today.' British Archaeology

The Archaeology of Seeing provides readers with a new and provocative understanding of material culture through exploring visual narratives captured in cave and rock art, sculpture, paintings, and more. The engaging argument draws on current thinking in archaeology, on how we can interpret the behaviour of people in the past through their use of material culture, and how this affects our understanding of how we create and see art in the present. Exploring themes of gender, identity, and story-telling in visual material culture, this book forces a radical reassessment of how the ability to see makes us and our ancestors human; as such, it will interest lovers of both art and archaeology. Illustrated with examples from around the world, from the earliest art from hundreds of thousands of years ago, to the contemporary art scene, including street art and advertising, Janik cogently argues that the human capacity for art, which we share with our most ancient ancestors and cousins, is rooted in our common neurophysiology. The ways in which our brains allow us to see is a common heritage that shapes the creative process; what changes, according to time and place, are the cultural contexts in which art is produced and consumed. The book argues for an innovative understanding of art through the interplay between the way the human brain works and the culturally specific creation and interpretation of meaning, making an important contribution to the debate on art/archaeology.

Archaeology is intimately connected to the modern regime of vision. A concern with optics was fundamental to the Scientific Revolution, and informed the moral theories of the Enlightenment. And from its inception, archaeology was concerned with practices of depiction and classification that were profoundly scopic in character. Drawing on both the visual arts and the depictive practices of the sciences, employing conventionalised forms of illustration, photography, and spatial technologies, archaeology presents a paradigm of visualised knowledge. However, a number of thinkers from Jean-Paul Sartre onwards have cautioned that vision presents at once a partial and a politicised way of apprehending the world. In this volume, authors from archaeology and other disciplines address the problems that face the study of the past in an era in which realist modes of representation and the philosophies in which they are grounded in are increasingly open to question.

Archaeologies of the Contemporary Past turns what is usually seen as a method for investigating the distant past onto the present. In doing so, it reveals fresh ways of looking both at ourselves and modern society as well as the discipline of archaeology. This volume represents the most recent research in this area and examines a variety of contexts including: * Art Deco * landfills * miner strikes * college fraternities * an abandoned council house.