Alex Hale | Historic Environment Scotland (original) (raw)
Books and chapters by Alex Hale
Practicing Landscape Field Guide No.2, Landscapes of Energy and Extraction, 2024
There are over 2700 cists recorded in the National Record of the Historic Environment for Scotlan... more There are over 2700 cists recorded in the National Record of the Historic Environment for Scotland (NRHE). Cists /ˈkɪsts/ are the archaeological remainders of a Bronze Age burial rite that comprise discrete, but defined spaces in the landscape. Often no larger than a wheeled suitcase, cists are made up of stone slabs set on edge and covered with a heavy capstone. They mark a pause in the landscape, where a person has been laid to rest. As the space is closed by the placing of a capstone it becomes something else, a vessel in the landscape for their afterlife. This enslabbed space evokes thoughts of an ending, a body at rest, but also a foretelling, an ‘open-ended gathering’ (after Tsing 2014).
This field guide aims to explore some of these thoughts through materials and materialities, enlivened by the Loch of Blairs cist in Moray, Scotland, which re-surfaced in July 1931.
EAC Occasional Paper No. 19 New Challenges Archaeological Heritage Management and the Archaeology of the 18th to 20th centuries, 2024
“Contemporary Archaeology” deals with sites, features and finds from the period after the beginni... more “Contemporary Archaeology” deals with sites, features and finds from the
period after the beginning of industrialisation, obtained through excavation and documentation using techniques and methods applied in all fields of archaeology. The topic and the comparatively ‘young’ period in focus are not completely new for archaeological monument preservation, even if they are explicitly considered in only a relatively few monument protection laws. It has long been common practice in many places across Europe to protect, preserve, and research monuments of the recent past—simply because they are there. This is both a challenge and an opportunity for archaeological heritage management, considered in the 2023 EAC symposium papers. Archaeological heritage preservation gains weight because it is accompanied by a special interest from the public and, thus, can develop opportunities to participate in political education. The material remains of war and terror lead us to the limits of archaeology and beyond: they become evidence, crime scenes, and anchors for commemoration and political education.
2022: document | archive | disseminate graffiti-scapes. Proceedings of the goINDIGO 2022 International Graffiti Symposium, 2023
This keynote address for the goINDIGO 2022 symposium aims to act as an introduction to the exciti... more This keynote address for the goINDIGO 2022 symposium aims to act as an introduction to the exciting complexities that graffiti can present to archaeologists and others who are interested and choose to research this subject. The paper considers graffiti through three lenses: as a subject for archaeological investigation, as artefacts from time past, time now and time as unfolding surfaces; and it asks how should we develop our archival practices in the wake of digital profusion challenges and the 6th extinction event, in the contemporary archaeological timeframe?
Photography and Archaeology, Dan Hicks & Lesley McFadyen (eds.), 2019
Rarely solicited, and even less rarely welcomed in retrospect, there are fewer aspects of our bui... more Rarely solicited, and even less rarely welcomed in retrospect, there are fewer aspects of our built environment more contentious than graffiti. The occurrence of graffiti more often than not carries with it well-rehearsed attitudes towards both the art and the artist from the majority of the public and heritage sector alike. We seek to challenge this stance through unsettling traditional approaches to the use of photography in the archaeological recording of the built environment.
Our chapter focuses on two contrasting case studies in Scotland – Scalan, which is a nineteenth-century farm and Catholic seminary in the Cairngorms, and Pollphail, which is a 1970s oil workers village on the west coast of Argyll. We take stock of past recording techniques employed by archaeologists at these sites, in order to explore how new approaches to archaeological photography might be developed. The case studies form part of ongoing efforts to address graffiti art as a largely unrecognized form of cultural heritage in Scotland
The Archaeology of Europe’s Drowned Landscapes, 2020
The submerged landscapes around Great Britain are extensive and would have offered productive ter... more The submerged landscapes around Great Britain are extensive and would have offered productive territory for hunting, gathering, exploitation of aquatic and marine resources, and—in the final stages of postglacial sea-level rise—opportunities for agriculture. They would also have provided land connections to continental Europe and opportunities for communication by sea travel along now-submerged palaeocoastlines and river estuaries. Most of the archaeological material has been discovered in intertidal or shallow water conditions, but there are also discoveries in deeper water, with dates ranging from earliest human presence nearly one million years ago up to the establishment of modern sea level. Some later material is present where coastlines have continued to sink in more recent millennia. Intertidal sites are especially well represented because of relatively large tidal ranges and shallow offshore gradients on many coastlines. These are often associated with remains of submerged forests, which are periodically exposed at low tide and then covered up again by movements of sand. Some of the most distinctive intertidal finds are the human and animal footprints preserved in intertidal sediments in many locations, especially at Goldcliff East. The earliest, at Happisburgh, are dated between 0.78 and 1 Ma. Fully submerged sites include the Mesolithic site of Bouldnor Cliff with its worked timbers, and the Middle Stone Age artefacts from offshore aggregate Area 240 along with well-preserved ice age fauna and environmental indicators. Pioneering work using oil industry seismic records has produced detailed reconstructions of the submerged landscape, and this is being followed up by new work involving targeted acoustic survey and coring of sediments.
This booklet is a result of a partnership project undertaken in 2008–10 between the Royal Commi... more This booklet is a result of a partnership project
undertaken in 2008–10 between the Royal
Commission on the Ancient and Historical
Monuments of Scotland (RCAHMS) and the
Discover Bute Landscape Partnership Scheme
(DBLPS), the co-ordinators of a four-year
programme of improvements to Bute’s rural
landscape funded largely, but not solely, by the
Heritage Lottery Fund. The short-term aims of
the project were to revise the existing RCAHMS
archaeological records for Bute, working closely
with the local community, and to produce a booklet
that summarises the archaeology of Bute. The
principal long-term aim is to provide the local
community with the information that will allow
them to determine priorities and make decisions
about the archaeological work they are likely to
initiate in the future.
The Dumbuck crannog excavations in 1898-9, caused one of the longest-running and most vitriolic c... more The Dumbuck crannog excavations in 1898-9,
caused one of the longest-running and most
vitriolic controversies in Scottish archaeology.
The excavation was recorded in detail in
colourful pictures by William Donnelly.
This book tells the story of the excavations,
the ensuing controversy and the enduring
mystery of Dumbuck crannog.
Papers by Alex Hale
Internet Archaeology 66, 2024
This PDF is a simplified version of the original article published in Internet Archaeology under ... more This PDF is a simplified version of the original article published in Internet Archaeology under the terms of the Creative Commons Attribution 3.0 (CC BY) Unported licence. Enlarged images, models, visualisations etc which support this publication can be found in the original version online. All links also go to the online original.
Internet Archaeology 66, 2024
This article gives a concise introduction to some of the potential benefits of studying the archa... more This article gives a concise introduction to some of the potential benefits of studying the archaeology of the 18th to 20th centuries. Using a selection of examples, it aims to provide guides to multi-, inter- and trans-disciplinary approaches to the material culture from this period. It reflects on some of the archaeological remains, the theoretical frameworks and the practices that originated in the 18th to 20th centuries and remain pertinent to those who focus on this period today. By outlining some of the general theoretical underpinnings, and the range of established and emerging practices within what we know as the Anthropocene, it will enable researchers to recognise that they are not alone in their endeavours to explore, interpret, manage and learn from the complex recent pasts.
Internet Archaeology, 2024
The archaeology of the last 300 years from 1700 to 1999 has previously been termed 'modernity' or... more The archaeology of the last 300 years from 1700 to 1999 has previously been termed 'modernity' or 'contemporary archaeology' and given other disciplinary-specific names. However, these terms can have specific connotations and associated issues. Eventually the EAC 2023 scientific committee settled on 'the archaeology of the 18th to 20th centuries', to focus on the chronological aspects of this period. Here we deal with sites, features and finds from the period following the start of industrialisation, obtained through excavation and documentation, and using techniques and methods applied in all archaeological disciplines. In terms of the naming of this period, beyond the geological term 'Anthropocene', which is also accompanied by its own complexities, Contemporary Archaeology may well be suitable, assuming we accept Harrison and Schofield's definition and explanation (2010) and expand the temporal range. But we should also acknowledge the complexities of engaging with this period and recognise that there are many ways to approach archaeologies of the near present and recent past.
What role should imaginary and speculative strategies play within our methodologies? This paper a... more What role should imaginary and speculative strategies play within our methodologies? This paper aims to explore intersections posed through site writing (Rendell 2010), performativity (Cull 2014, Bell 1999) and archaeologies of the contemporary past (Lucas and Cuchli 2001, Graves Brown et al 2013, Russell and Cochrane 2014). Taking two examples – Scalan, a ruined farm in rural Moray and Garnethill public park, in inner city Glasgow – we will explore an interdisciplinary reading of both sites. The paper will consider and discuss how sharing methods of interpretative plane table survey, time-lapse video, performativity, photography and site writing can open up this third space between contrasting sites and disciplines, approaches and imagined temporalities. The artist/archaeologists who came together to explore intersections of practices, ideas of seeing and being, and methods of encounter, have woven an assemblage of time, impermanence, lines and contradictions, and are sill exploring how a third, speculative space comes into being
Archaeology and Photography
The Archaeology of Europe’s Drowned Landscapes, 2020
On 6 April 2019 the research project grouping – comprising Susan Brind, Jenny Brownrigg and Gina ... more On 6 April 2019 the research project grouping – comprising Susan Brind, Jenny Brownrigg and Gina Wall (GSA – Reading Landscape group), Birthe Jorgensen (independent artist) and Alex Hale (Historic Environment Scotland) – were invited to work with Tomintoul and Glenlivet Landscape Partnership, to lead a day-long public workshop 'Celebrating Scalan': a community event organised by the latter to 'uncover new stories about the hidden landscapes of Scalan', through capturing memories of place and community reflections on Scalan. This workshop resulted directly from interdisciplinary research and fieldwork begun in June 2018 (funded by RDF) between GSA colleagues and Historic Environment Scotland. The methods employed during the workshop aligned with and enriched the approach taken during the initial fieldwork, and specifically included: • Visual and data mining of the existing archaeological documentation of ‘field graffiti’ within the barns at Scalan, accompanied by the visitors; • Archaeological and creative field research including drawing, site surveys, photography, video and audio recordings, particularly - subject to 'informed consent' permissions - documenting the stories of visitors who had knowledge of Scalan; and • Reflexive research methods including participatory group work, including informal dialogues with visitors. The workshop related most directly to one of the research questions underlying the collaborative, interdisciplinary research identified for the fieldwork at Scalan in 2018: How might our understanding of landscape be enriched by reading this place as a site of inscription which correlates with the archaeological concept of palimpsest? The dialogues with visitors who attended the workshop brought a rich array of first hand knowledge and accounts of people who had lived on and worked the land at Scalan, as well as intimate knowledge of the landscape surrounding the settlement and barns. They were able to bring readings and insights to the graffiti within the barns, and uncover new stories about the hidden landscapes of Scalan that were of value to the Tomintoul and Glenlivet Landscape Partnership's community archive. The timing of this workshop was key in providing an opportunity for visitors from the vicinity to experience the barns and discuss their significance and value, in terms of local and social history, prior to the renovation of the barns as a heritage site
International Journal of Art and Design Education, 2020
This paper conceptualises practice in the space between and beyond Art & Archaeology as a zone wh... more This paper conceptualises practice in the space between and beyond Art & Archaeology as a zone where disciplinary certainties and known practices are unsettled, expanded and re-cast. In the course of the paper, we will outline our current thinking about heritage landscapes as places and temporalities for engagement in the practice of the para-archive. This research is informed by our interdisciplinary fieldwork in the heritage landscape (specifically at Scalan Mills, Moray) which has mobilised multiple textures of place, for example; locality, geography, labour and memory. For us, landscape functions as a kind of living archive, however, we are sceptical of the privileged relation between archive, law and authority (Derrida, 1995). Therefore, in this paper we will think through our interdisciplinary research in the context of the development of creative ‘para-archives’ (Slager, 2015: 82) which facilitate: 'the perspective of desirology: a thinking in terms of new orders of affec...
The ACCORD programme started in October 2013 and was an 18 month partnership between the Glasgow ... more The ACCORD programme started in October 2013 and was an 18 month partnership between the Glasgow School of Art, Archaeology Scotland, University of Manchester and the RCAHMS (Royal Commission for Ancient and Historical Monuments of Scotland). ACCORD was one of eleven projects across the UK to be awarded funding from the Arts and Humanities Research Council's Digital Transformations Connected Communities programme. In the summer of 2014 the ACCORD team worked together with 10 community groups across Scotland. The project worked together with groups who had existing and ongoing relationships with heritage places in the process of creating three-dimensional (3D) research resources for their chosen place. The project's notion of "what is heritage?" was entirely community defined, and ranged from Rock-Art sites to Rock-climbing venues. This approach encouraged the participation of groups with diverse interests in, and conceptions of, heritage. Working together with visualisation technologists, researchers and practitioners in community engagement, community partners designed and produced their own records
Journal of Contemporary Archaeology, 2020
This illustrated essay discusses the creative practice of 'live drawing' at an annual con... more This illustrated essay discusses the creative practice of 'live drawing' at an annual conference which brings together Scotland's community heritage practitioners. It discusses the application of drawing as documentation whilst people are giving talks about their projects, and critically explores the use of drawing as a 'way of seeing' events that are tied to the past. It develops the idea that the format of the conferences, just like the composition and content of the illustrations, applies framing devices that contain and constrain our creativity, but that can also enable imaginary opportunities when considering the past in the present.
This fieldwork took place at Scalan Mill, Moray, Scotland, in June 2018. The mill is located on t... more This fieldwork took place at Scalan Mill, Moray, Scotland, in June 2018. The mill is located on the north edge of the Cairngorm massive, in a post industrial and rural landscape. The fieldwork primarily links to ‘Reading Landscape’ research themes of people and place; landscape, history and transformation. The research collaboration has arisen through a dialogue with Alex Hale, Archaeologist based with Historic Environment Scotland because he is interested in what archaeologists might learn from artists in relation to alternative methods they use to examine the nature of site and place. This fieldwork is proposed as an experiment to test the possibilities for knowledge exchange, and new methods to emerge as a result. Why Scalan Mill? It is an Historic Environment site, and is on the Buildings at Risk register and is ‘A’ listed. Historically it was once a seminary 1717-1760, where the ‘Heather Priests’ trained, hidden from Jacobites and English. In a more recent social history, the b...
This paper introduces the AHRC funded ACCORD project, a partnership between the Digital Design St... more This paper introduces the AHRC funded ACCORD project, a partnership between the Digital Design Studio at the Glasgow School of Art, Archaeology Scotland, the University of Manchester and the RCAHMS. The ACCORD project examines the opportunities and implications of digital visualisation technologies for community engagement and research through the co-creation of 3D models of historic monuments and places. Despite their increasing accessibility, techniques such as laser scanning, 3D modelling and 3D print- ing have remained firmly in the domain of heritage specialists. Expert forms of knowledge and/or professional priorities frame the use of digital visualisation technologies and forms of community-based social value are rarely addressed. Consequently, the resulting digital objects fail to engage communities as a means of researching and representing their heritage. The first part of this paper pres- ents how the ACCORD project seeks to address this gap through the co-design and co-p...
Practicing Landscape Field Guide No.2, Landscapes of Energy and Extraction, 2024
There are over 2700 cists recorded in the National Record of the Historic Environment for Scotlan... more There are over 2700 cists recorded in the National Record of the Historic Environment for Scotland (NRHE). Cists /ˈkɪsts/ are the archaeological remainders of a Bronze Age burial rite that comprise discrete, but defined spaces in the landscape. Often no larger than a wheeled suitcase, cists are made up of stone slabs set on edge and covered with a heavy capstone. They mark a pause in the landscape, where a person has been laid to rest. As the space is closed by the placing of a capstone it becomes something else, a vessel in the landscape for their afterlife. This enslabbed space evokes thoughts of an ending, a body at rest, but also a foretelling, an ‘open-ended gathering’ (after Tsing 2014).
This field guide aims to explore some of these thoughts through materials and materialities, enlivened by the Loch of Blairs cist in Moray, Scotland, which re-surfaced in July 1931.
EAC Occasional Paper No. 19 New Challenges Archaeological Heritage Management and the Archaeology of the 18th to 20th centuries, 2024
“Contemporary Archaeology” deals with sites, features and finds from the period after the beginni... more “Contemporary Archaeology” deals with sites, features and finds from the
period after the beginning of industrialisation, obtained through excavation and documentation using techniques and methods applied in all fields of archaeology. The topic and the comparatively ‘young’ period in focus are not completely new for archaeological monument preservation, even if they are explicitly considered in only a relatively few monument protection laws. It has long been common practice in many places across Europe to protect, preserve, and research monuments of the recent past—simply because they are there. This is both a challenge and an opportunity for archaeological heritage management, considered in the 2023 EAC symposium papers. Archaeological heritage preservation gains weight because it is accompanied by a special interest from the public and, thus, can develop opportunities to participate in political education. The material remains of war and terror lead us to the limits of archaeology and beyond: they become evidence, crime scenes, and anchors for commemoration and political education.
2022: document | archive | disseminate graffiti-scapes. Proceedings of the goINDIGO 2022 International Graffiti Symposium, 2023
This keynote address for the goINDIGO 2022 symposium aims to act as an introduction to the exciti... more This keynote address for the goINDIGO 2022 symposium aims to act as an introduction to the exciting complexities that graffiti can present to archaeologists and others who are interested and choose to research this subject. The paper considers graffiti through three lenses: as a subject for archaeological investigation, as artefacts from time past, time now and time as unfolding surfaces; and it asks how should we develop our archival practices in the wake of digital profusion challenges and the 6th extinction event, in the contemporary archaeological timeframe?
Photography and Archaeology, Dan Hicks & Lesley McFadyen (eds.), 2019
Rarely solicited, and even less rarely welcomed in retrospect, there are fewer aspects of our bui... more Rarely solicited, and even less rarely welcomed in retrospect, there are fewer aspects of our built environment more contentious than graffiti. The occurrence of graffiti more often than not carries with it well-rehearsed attitudes towards both the art and the artist from the majority of the public and heritage sector alike. We seek to challenge this stance through unsettling traditional approaches to the use of photography in the archaeological recording of the built environment.
Our chapter focuses on two contrasting case studies in Scotland – Scalan, which is a nineteenth-century farm and Catholic seminary in the Cairngorms, and Pollphail, which is a 1970s oil workers village on the west coast of Argyll. We take stock of past recording techniques employed by archaeologists at these sites, in order to explore how new approaches to archaeological photography might be developed. The case studies form part of ongoing efforts to address graffiti art as a largely unrecognized form of cultural heritage in Scotland
The Archaeology of Europe’s Drowned Landscapes, 2020
The submerged landscapes around Great Britain are extensive and would have offered productive ter... more The submerged landscapes around Great Britain are extensive and would have offered productive territory for hunting, gathering, exploitation of aquatic and marine resources, and—in the final stages of postglacial sea-level rise—opportunities for agriculture. They would also have provided land connections to continental Europe and opportunities for communication by sea travel along now-submerged palaeocoastlines and river estuaries. Most of the archaeological material has been discovered in intertidal or shallow water conditions, but there are also discoveries in deeper water, with dates ranging from earliest human presence nearly one million years ago up to the establishment of modern sea level. Some later material is present where coastlines have continued to sink in more recent millennia. Intertidal sites are especially well represented because of relatively large tidal ranges and shallow offshore gradients on many coastlines. These are often associated with remains of submerged forests, which are periodically exposed at low tide and then covered up again by movements of sand. Some of the most distinctive intertidal finds are the human and animal footprints preserved in intertidal sediments in many locations, especially at Goldcliff East. The earliest, at Happisburgh, are dated between 0.78 and 1 Ma. Fully submerged sites include the Mesolithic site of Bouldnor Cliff with its worked timbers, and the Middle Stone Age artefacts from offshore aggregate Area 240 along with well-preserved ice age fauna and environmental indicators. Pioneering work using oil industry seismic records has produced detailed reconstructions of the submerged landscape, and this is being followed up by new work involving targeted acoustic survey and coring of sediments.
This booklet is a result of a partnership project undertaken in 2008–10 between the Royal Commi... more This booklet is a result of a partnership project
undertaken in 2008–10 between the Royal
Commission on the Ancient and Historical
Monuments of Scotland (RCAHMS) and the
Discover Bute Landscape Partnership Scheme
(DBLPS), the co-ordinators of a four-year
programme of improvements to Bute’s rural
landscape funded largely, but not solely, by the
Heritage Lottery Fund. The short-term aims of
the project were to revise the existing RCAHMS
archaeological records for Bute, working closely
with the local community, and to produce a booklet
that summarises the archaeology of Bute. The
principal long-term aim is to provide the local
community with the information that will allow
them to determine priorities and make decisions
about the archaeological work they are likely to
initiate in the future.
The Dumbuck crannog excavations in 1898-9, caused one of the longest-running and most vitriolic c... more The Dumbuck crannog excavations in 1898-9,
caused one of the longest-running and most
vitriolic controversies in Scottish archaeology.
The excavation was recorded in detail in
colourful pictures by William Donnelly.
This book tells the story of the excavations,
the ensuing controversy and the enduring
mystery of Dumbuck crannog.
Internet Archaeology 66, 2024
This PDF is a simplified version of the original article published in Internet Archaeology under ... more This PDF is a simplified version of the original article published in Internet Archaeology under the terms of the Creative Commons Attribution 3.0 (CC BY) Unported licence. Enlarged images, models, visualisations etc which support this publication can be found in the original version online. All links also go to the online original.
Internet Archaeology 66, 2024
This article gives a concise introduction to some of the potential benefits of studying the archa... more This article gives a concise introduction to some of the potential benefits of studying the archaeology of the 18th to 20th centuries. Using a selection of examples, it aims to provide guides to multi-, inter- and trans-disciplinary approaches to the material culture from this period. It reflects on some of the archaeological remains, the theoretical frameworks and the practices that originated in the 18th to 20th centuries and remain pertinent to those who focus on this period today. By outlining some of the general theoretical underpinnings, and the range of established and emerging practices within what we know as the Anthropocene, it will enable researchers to recognise that they are not alone in their endeavours to explore, interpret, manage and learn from the complex recent pasts.
Internet Archaeology, 2024
The archaeology of the last 300 years from 1700 to 1999 has previously been termed 'modernity' or... more The archaeology of the last 300 years from 1700 to 1999 has previously been termed 'modernity' or 'contemporary archaeology' and given other disciplinary-specific names. However, these terms can have specific connotations and associated issues. Eventually the EAC 2023 scientific committee settled on 'the archaeology of the 18th to 20th centuries', to focus on the chronological aspects of this period. Here we deal with sites, features and finds from the period following the start of industrialisation, obtained through excavation and documentation, and using techniques and methods applied in all archaeological disciplines. In terms of the naming of this period, beyond the geological term 'Anthropocene', which is also accompanied by its own complexities, Contemporary Archaeology may well be suitable, assuming we accept Harrison and Schofield's definition and explanation (2010) and expand the temporal range. But we should also acknowledge the complexities of engaging with this period and recognise that there are many ways to approach archaeologies of the near present and recent past.
What role should imaginary and speculative strategies play within our methodologies? This paper a... more What role should imaginary and speculative strategies play within our methodologies? This paper aims to explore intersections posed through site writing (Rendell 2010), performativity (Cull 2014, Bell 1999) and archaeologies of the contemporary past (Lucas and Cuchli 2001, Graves Brown et al 2013, Russell and Cochrane 2014). Taking two examples – Scalan, a ruined farm in rural Moray and Garnethill public park, in inner city Glasgow – we will explore an interdisciplinary reading of both sites. The paper will consider and discuss how sharing methods of interpretative plane table survey, time-lapse video, performativity, photography and site writing can open up this third space between contrasting sites and disciplines, approaches and imagined temporalities. The artist/archaeologists who came together to explore intersections of practices, ideas of seeing and being, and methods of encounter, have woven an assemblage of time, impermanence, lines and contradictions, and are sill exploring how a third, speculative space comes into being
Archaeology and Photography
The Archaeology of Europe’s Drowned Landscapes, 2020
On 6 April 2019 the research project grouping – comprising Susan Brind, Jenny Brownrigg and Gina ... more On 6 April 2019 the research project grouping – comprising Susan Brind, Jenny Brownrigg and Gina Wall (GSA – Reading Landscape group), Birthe Jorgensen (independent artist) and Alex Hale (Historic Environment Scotland) – were invited to work with Tomintoul and Glenlivet Landscape Partnership, to lead a day-long public workshop 'Celebrating Scalan': a community event organised by the latter to 'uncover new stories about the hidden landscapes of Scalan', through capturing memories of place and community reflections on Scalan. This workshop resulted directly from interdisciplinary research and fieldwork begun in June 2018 (funded by RDF) between GSA colleagues and Historic Environment Scotland. The methods employed during the workshop aligned with and enriched the approach taken during the initial fieldwork, and specifically included: • Visual and data mining of the existing archaeological documentation of ‘field graffiti’ within the barns at Scalan, accompanied by the visitors; • Archaeological and creative field research including drawing, site surveys, photography, video and audio recordings, particularly - subject to 'informed consent' permissions - documenting the stories of visitors who had knowledge of Scalan; and • Reflexive research methods including participatory group work, including informal dialogues with visitors. The workshop related most directly to one of the research questions underlying the collaborative, interdisciplinary research identified for the fieldwork at Scalan in 2018: How might our understanding of landscape be enriched by reading this place as a site of inscription which correlates with the archaeological concept of palimpsest? The dialogues with visitors who attended the workshop brought a rich array of first hand knowledge and accounts of people who had lived on and worked the land at Scalan, as well as intimate knowledge of the landscape surrounding the settlement and barns. They were able to bring readings and insights to the graffiti within the barns, and uncover new stories about the hidden landscapes of Scalan that were of value to the Tomintoul and Glenlivet Landscape Partnership's community archive. The timing of this workshop was key in providing an opportunity for visitors from the vicinity to experience the barns and discuss their significance and value, in terms of local and social history, prior to the renovation of the barns as a heritage site
International Journal of Art and Design Education, 2020
This paper conceptualises practice in the space between and beyond Art & Archaeology as a zone wh... more This paper conceptualises practice in the space between and beyond Art & Archaeology as a zone where disciplinary certainties and known practices are unsettled, expanded and re-cast. In the course of the paper, we will outline our current thinking about heritage landscapes as places and temporalities for engagement in the practice of the para-archive. This research is informed by our interdisciplinary fieldwork in the heritage landscape (specifically at Scalan Mills, Moray) which has mobilised multiple textures of place, for example; locality, geography, labour and memory. For us, landscape functions as a kind of living archive, however, we are sceptical of the privileged relation between archive, law and authority (Derrida, 1995). Therefore, in this paper we will think through our interdisciplinary research in the context of the development of creative ‘para-archives’ (Slager, 2015: 82) which facilitate: 'the perspective of desirology: a thinking in terms of new orders of affec...
The ACCORD programme started in October 2013 and was an 18 month partnership between the Glasgow ... more The ACCORD programme started in October 2013 and was an 18 month partnership between the Glasgow School of Art, Archaeology Scotland, University of Manchester and the RCAHMS (Royal Commission for Ancient and Historical Monuments of Scotland). ACCORD was one of eleven projects across the UK to be awarded funding from the Arts and Humanities Research Council's Digital Transformations Connected Communities programme. In the summer of 2014 the ACCORD team worked together with 10 community groups across Scotland. The project worked together with groups who had existing and ongoing relationships with heritage places in the process of creating three-dimensional (3D) research resources for their chosen place. The project's notion of "what is heritage?" was entirely community defined, and ranged from Rock-Art sites to Rock-climbing venues. This approach encouraged the participation of groups with diverse interests in, and conceptions of, heritage. Working together with visualisation technologists, researchers and practitioners in community engagement, community partners designed and produced their own records
Journal of Contemporary Archaeology, 2020
This illustrated essay discusses the creative practice of 'live drawing' at an annual con... more This illustrated essay discusses the creative practice of 'live drawing' at an annual conference which brings together Scotland's community heritage practitioners. It discusses the application of drawing as documentation whilst people are giving talks about their projects, and critically explores the use of drawing as a 'way of seeing' events that are tied to the past. It develops the idea that the format of the conferences, just like the composition and content of the illustrations, applies framing devices that contain and constrain our creativity, but that can also enable imaginary opportunities when considering the past in the present.
This fieldwork took place at Scalan Mill, Moray, Scotland, in June 2018. The mill is located on t... more This fieldwork took place at Scalan Mill, Moray, Scotland, in June 2018. The mill is located on the north edge of the Cairngorm massive, in a post industrial and rural landscape. The fieldwork primarily links to ‘Reading Landscape’ research themes of people and place; landscape, history and transformation. The research collaboration has arisen through a dialogue with Alex Hale, Archaeologist based with Historic Environment Scotland because he is interested in what archaeologists might learn from artists in relation to alternative methods they use to examine the nature of site and place. This fieldwork is proposed as an experiment to test the possibilities for knowledge exchange, and new methods to emerge as a result. Why Scalan Mill? It is an Historic Environment site, and is on the Buildings at Risk register and is ‘A’ listed. Historically it was once a seminary 1717-1760, where the ‘Heather Priests’ trained, hidden from Jacobites and English. In a more recent social history, the b...
This paper introduces the AHRC funded ACCORD project, a partnership between the Digital Design St... more This paper introduces the AHRC funded ACCORD project, a partnership between the Digital Design Studio at the Glasgow School of Art, Archaeology Scotland, the University of Manchester and the RCAHMS. The ACCORD project examines the opportunities and implications of digital visualisation technologies for community engagement and research through the co-creation of 3D models of historic monuments and places. Despite their increasing accessibility, techniques such as laser scanning, 3D modelling and 3D print- ing have remained firmly in the domain of heritage specialists. Expert forms of knowledge and/or professional priorities frame the use of digital visualisation technologies and forms of community-based social value are rarely addressed. Consequently, the resulting digital objects fail to engage communities as a means of researching and representing their heritage. The first part of this paper pres- ents how the ACCORD project seeks to address this gap through the co-design and co-p...
The final project booklet from the 'How should heritage decisions be made?' project. Fund... more The final project booklet from the 'How should heritage decisions be made?' project. Funded by the Arts and Humanities Research Council's Connected Communities programme.
International Journal of Heritage Studies, 2020
The Journal of Island and Coastal Archaeology, 2017
Radiocarbon wiggle-match dating is a technique that can combine the versatility of radiocarbon da... more Radiocarbon wiggle-match dating is a technique that can combine the versatility of radiocarbon dating with chronological information from tree-rings. This makes it useful in contexts where timbers are preserved, but dendrochronological dating is impossible. As intertidal and marine timbers are waterlogged, this can favour their preservation and hence allow wiggle-match 14 C dating, which can be of significant help in deriving relatively precise chronologies for a range of coastal structures. As the technique depends on making multiple radiocarbon measurements towards a single date, efficiency in application is the key and hence a number of practical considerations need to be taken into account in advance of conducting a dating programme. This paper discusses some of these practical concerns and reviews them in the context of the intertidal crannogs in the Firth of Clyde on the west coast of Scotland.
European Journal of Archaeology, 2017
There are at least four wooden intertidal platforms, also known as marine crannogs, in the Firth ... more There are at least four wooden intertidal platforms, also known as marine crannogs, in the Firth of Clyde, on the west coast of Scotland. The interpretation of these sites partly depends on their dating and, if coeval, they could point to the presence of a native maritime hub. Furthermore, the spatial coincidence with the terminus of the Antonine Wall has led to speculation about the role they may have played in Roman-native interaction during the occupation of southern Scotland in the early first millennium cal ad. Hence, a better absolute chronology is essential to evaluate whether the marine crannogs were contemporary with one another and whether they related to any known historic events. This article presents results of a wiggle-match dating project aimed at resolving these uncertainties at two of the sites in question, Dumbuck and Erskine Bridge crannogs. The results show that the construction of these sites pre-date direct Roman influence in Scotland. Furthermore, the results ...
International Journal of Heritage Studies, 2017
This article examines the question of authenticity in relation to 3D visualisation of historic ob... more This article examines the question of authenticity in relation to 3D visualisation of historic objects and monuments. Much of the literature locates their authenticity in the accuracy of the data and/or the realism of the resulting models. Yet critics argue that 3D visualisations undermine the experience of authenticity, disrupting people's access to the materiality, biography and aura of their historic counterparts. The ACCORD project takes questions of authenticity and 3D visualisation into a new arena-that of community heritage practice-and uses rapid ethnographic methods to examine whether and how such visualisations acquire authenticity. The results demonstrate that subtle forms of migration and borrowing occur between the original and the digital, creating new forms of authenticity associated with the digital object. Likewise, the creation of digital models mediates the authenticity and status of their original counterparts through the networks of relations in which they are embedded. The current preoccupation with the binary question of whether 3D digital models are authentic or not obscures the wider work that such objects do in respect to the cultural politics of ownership, attachment, place-making and regeneration. The article both advances theoretical debates and has important implications for heritage visualisation practice.
Valuing Interdisciplinary Collaborative Research, 2017
A key value offered by collaborative research is to recognise the powerful role relationships pla... more A key value offered by collaborative research is to recognise the powerful role relationships play in the development and legacy of knowledge. The project ‘How should heritage decisions be made?’ put the social dynamics between the collaborative team – comprised of researchers, practitioners, funders and community activists – at the heart of the project’s methodology. Thinking of this research as social and relational also reflects an interest in thinking about heritage in the same way. Taking this approach is helpful because the concept of heritage is often bound up with big and abstract aims, to be ‘forever and for everyone’. These very scaled-up ambitions often lead politically towards the professional management of heritage ‘on behalf of’ a larger public. It is shown that for participation in heritage decision-making to be increased these larger ideas – ‘stewardship’, ‘scale’, ‘significance’ and ‘the future’ – need themselves to be socialised and, through this, made more amenabl...
Proceedings of the Society of Antiquaries of Scotland, 2000
Recent survey of four sites below high-water mark in the Beauly Firth and five in the Firth of Cl... more Recent survey of four sites below high-water mark in the Beauly Firth and five in the Firth of Clyde has underlined the inherent diversity within the group of sites commonly referred to as crannogs. Yet the sites in the Beauly Firth and the Firth of Clyde, known as marine crannogs, show a set of common characteristics which link them clearly with their tidal environment.
Science Museum Group Journal, 2021
Urban Surfaces Research Network Vol. 3, 2024
A discussion about the role of urban surfaces in developing public cultures and equitable cities.... more A discussion about the role of urban surfaces in developing public cultures and equitable cities. Participants in these Surface Conversations were asked to address three prompts, which you will find in the following pages:
1. Share a definition of urban surfaces pertinent to their discipline and field of research or practice.
2. Propose three concepts for advancing urban surfaces knowledge.
3. Introduce an example or case study of their surface-related work.
This publication is intended to inform research, practice, and public discussions on the role of surfaces in urban environments. We hope you enjoy your journey through these incredibly wide-ranging responses and share our enthusiasm for the traction of surface knowledges in the series.
Sabina Andron, University of Melbourne
Konstantinos Avramidis, University of Cyprus
Tom Ward, Uppsala University
Epoiesen 2024.5, 2024
It is with great pleasure to see drawing being applied to ‘bridge the boundaries between archaeol... more It is with great pleasure to see drawing being applied to ‘bridge the boundaries between archaeology and heritage knowledge production or for explicitly fostering collaborative critical thinking’ (Broccoli et al 2023). The essay and hence my response highlights the exciting possibilities that drawing brings to working co-creatively, across multiple disciplines. In this case the mash-up of archaeology, heritage, multiple participant engagement and drawing has created an object that can be considered a 21st century artefact; a ‘digit-thing’, which is hand-drawn but digitally hosted.
Journal for Artistic Research volume 30, 2023
This exposition is based on an archaeological survey in the landscapes around Kilmartin Glen, Arg... more This exposition is based on an archaeological survey in the landscapes around Kilmartin Glen, Argyll and Bute, western Scotland, and references digital datasets – archaeological reference points – alongside the acts (enactments) of field walking, photography, drawing and poetry – experiences and representational discourses – to consider how land and landscapes may be read as dynamic palimpsestic and multidimensional fields of entanglement.
Digital datasets were used by the survey to garner fruitful material to aid identification and to analyse (subtle) surface archaeological remains in the inhospitable terrain on the hills bordering Kilmartin Glen. By analysing, categorising and archiving such information, through naming and cataloguing, archaeological methodology effectively orders and tames such wildernesses. We, by contrast, are seeking to draw art and archaeological practices into dialogue with one another in order to assert the importance of recording experiences and random acts as a part of field research and, thereby, to both re-vivify and re-wild our encounters with landscape.
Our exposition and shared practices intentionally encourage nuances of reading and interpretation as are to be founded at the dialogic intersection between an artist/poet encountering archaeological landscape survey, and an archaeologist experiencing artistic, poetic and linguistic readings of land, reflecting – in the process – upon contemporary methodologies and underlying theoretical discourses. As such, this research sits within the wider contemporary turn towards interdisciplinary practice and seeks to establish a dialogue across disciplines – between humans and landscapes, practice and matter – that provides emerging approaches and hopes to remind us of the wild experience.
The Drouth, 2022
The document of a journey and one-day dérive from Happy Valley to Billia Croo. In a collaboration... more The document of a journey and one-day dérive from Happy Valley to Billia Croo. In a collaboration between Archaeologists and Artists across the landscape in Orkney, Susan Brind & Jim Harold, Alex Hale, Daniel Lee, Antonia Thomas reveal layers of data and perform a ‘disappearance’.
A short web essay that highlights the range and depth of contemporary and historic graffiti, to b... more A short web essay that highlights the range and depth of contemporary and historic graffiti, to be found across Scotland's historic environment.
https://www.youtube.com/watch?v=7qwGAhef6u0, 2020
An online talk given to the Tomintoul and Glenlivet Landscape partnership in November 2020. The t... more An online talk given to the Tomintoul and Glenlivet Landscape partnership in November 2020. The talk considers how archaeology can engage with historic and contemporary graffiti. It focuses on a site in the Scottish Cairngorms, called Scalan and looks at what graffiti can tell us about past lives, in great detail. It introduces the viewer to the concepts of contemporary graffiti as material culture and how we need to change our practices to engage with graffiti artists and the evidence.
Graffiti Review, 2018
In 2015 an urban wall was photographed every week for 52 weeks. This act of recording aimed to ca... more In 2015 an urban wall was photographed every week for 52 weeks. This act of recording aimed to capture the changing temporal nature of a city location and disrupt traditional archaeological timeframes. Graffiti sprayed on the wall came and went and appeared to lead to a destructive act of gentrification, driven in part by the ‘broken window’ theory. The unacknowledged driver of this cataclysmic event was not the graffiti but was in fact the urban waste disposal system, which left wheelie bins over flowing with rubbish adjacent to the wall. Through disrupted archaeological practice, this contribution explores creative urban spaces and hegemonic gentrification agendas. The project considers how the archaeological imagination (Gamble 2008, Shanks 2012) can be turned to unheard voices from across the graffiti world to ‘excavate’ urban change. It uses techniques such as repeat photography to unsettle traditional archaeological tropes of recording, in order to engage and consider the temporality of graffiti. By going beyond traditional archaeological methods it tests approaches that engage with unsettling material culture (modern graffiti) and sustains the need for disrupted approaches within the archaeologies of the contemporary past.
https://www.digitscotland.com, 2020
‘Graffiti is like a mirror, we should be able to look at it and see our hopes, desires and fears ... more ‘Graffiti is like a mirror, we should be able to look at it and see our hopes, desires and fears reflected in it.’ – Anonymous, 2020
Garnethill, Glasgow a multi-cultural community, home to The Glasgow School of Art with Garnethill... more Garnethill, Glasgow a multi-cultural community, home to The Glasgow School of Art with Garnethill Park at its heart. Garnethill, formerly known as Summerhill but said to have been renamed for Thomas Garnett (1766-1802) an early supporter of women’s education. From the 1820s Garnethill developed into a leafy residential area, and soon became another expanding suburb of the city. More affordable housing created a grid-pattern of streets and housing that comprised terraces of sandstone tenements. This particular part of the landscape was named Albert Place and Whitehall Place; names which are now only etched on a map, as traces of colonialism and imperialism, because sometime in the 1970s the tenements on the south side of this specific grid were demolished. The tearing down of the houses created a vacant space which became Garnethill Park, firstly a football pitch in the late 1980s and then officially opened, in 1991, as a public park and art space.
This keynote address for the goINDIGO 2022 symposium is a walk through a few of the affects and e... more This keynote address for the goINDIGO 2022 symposium is a walk through a few of the affects and effects of graffiti. It considers graffiti through three lenses: as a subject for archaeological investigation, as an artefact from time past, time now and time as unfolding surfaces; and it asks how we develop our archival practices in the wake of digital profusion challenges and the 6th extinction event in the Anthropocene.
CHAT conference 'Rurality' in Orkney, 2016
This conference presentation discusses the interconnected nature of rural and urban graffiti. It ... more This conference presentation discusses the interconnected nature of rural and urban graffiti. It considers the rural context of graffiti, its materiality, potential meanings and how it is interconnected with but nonetheless lost in the context of a mass of urban examples. It closes with a discussion about the opportunities that digital ‘excavation’ of this layer of quotidian, rural stratigraphy, can present to archaeologists of the contemporary past.
The ACCORD project explores opportunities and implications of community co-production of 3D herit... more The ACCORD project explores opportunities and implications of community co-production of 3D heritage site records.
The ACCORD team worked with a group of rock-climbers at the site of Dumbarton Rock (colloquially referred to as ‘Dumby’) from the 8th to 10th of July this summer. Our focus was not the historic Castle which sits atop this volcanic plug, rather together we recorded and modelled a particular aspect of the Dumbarton Rock cliff face and some of the boulders, which are the focus of the climbers’ activities. We used photogrammetry and RTI (Reflectance Transformation Imaging) and laser scanning to record aspects of the sporting heritage of Dumby. This collaborative paper is the outcome of a longer term engagement and discussion which has emerged from this work. The role of 3D recording and modelling in expressing and creating value attached to the monuments will be discussed.
Here we will put the 3D recording undertaken in context, specifically as a site of contested sporting heritage. This loved edgeland, in all its grittiness, is the main actor in the relationships established here. Additionally, climbers have a rich body of knowledge. Creating 3D records of their climbing heritage has facilitated a means of sharing this knowledge, a step towards fulfilling their aim to legitimise this place as a site of historical importance. ‘Beta’ is the colloquial climbing term used to refer to the knowledge that must be unlocked in order to succeed and complete a bouldering problem or climbing route. But as we hope we make clear in this presentation it also has relevance for understanding the success of our collaboration.
ACCORD (Archaeology Community Coproduction of Research Data) is funded by the AHRC under the Connected Communities stream and is a 15 month partnership between the Digital Design Studio at the Glasgow School of Art, Archaeology Scotland, the University of Manchester and the RCAHMS. For more information check out our blog www.accordproject.wordpress.com or twitter @ACCORD_project.
Graffiti is heritage; it is constructed, it appears, is recognised and generally disappears. By i... more Graffiti is heritage; it is constructed, it appears, is recognised and generally disappears. By incorporating the possibilities of graffiti into heritage management plans and by recording the styles and locations of graffiti, from tags to throw ups to complete pieces, along with their socio-cultural contexts and cultural references, we can begin to explore how people that we rarely engage with can become positive drivers for future heritage engagements. My paper discusses the contexts of historic and contemporary graffiti in a historic environment. The case study at Dumbarton Rock, the early 8th-century historic capital of Strathclyde, presented an opportunity to apply archaeological methods to record a range of graffiti that demonstrates the value of engaging with these sanctioned and unsanctioned archaeological phenomena. It goes on to outline the positive reasons for engaging, before removing graffiti from historic surfaces and finishes with recommendations for future work.
Whilst many of the new buildings and shops that have emerged from the 42 acre site of regeneratio... more Whilst many of the new buildings and shops that have emerged from the 42 acre site of regeneration known as Liverpool ONE have reinvented the city centre shopping centre experience, there are many local people who recall what life was like 60 years ago in this port town. Liverpool was an international thoroughfare for food and people, a history that is encapsulated in a ceramic map that is positioned on the side of the Tescos Superstore on the edge of the new shopping centre. The description states that this area was once ‘Mr Seel’s Garden’. The historic map draws the contemporary viewer into this past claiming: “you are standing on what was the garden, represented by an asterisk”. Looking at the map you realise that the other thing standing on what was the garden is the Tesco. The uncanny juxtaposition of modern and historic food systems begins to produce nostalgia for an imaginary past time when people knew who grew their food and where it was grown – you might even begin to imagine a kindly Mr Seel handing you a freshly cut cabbage. Before this longing for a time you have never experienced can fully take hold, however, the notice lets you know that “Thomas Seel was an eighteenth century merchant. He made money out of the dreadful slave trade, but used some of it to pay for Liverpool’s first infirmary”.
This brief but vivid experience draws together multiple elements – food, maps, history, time, power, cruelty, memory, intertwined globals and locals – to paint a complex picture of the positive and negative effects of varying connectivities. As part of the AHRC Connected Communities 'Mr Seel's Garden' project the authors worked with local residents to review paper, historic maps and Ordnance Survey maps to locate places of food. The teams trawled across 1st, 2nd and later OS editions and came up with hundreds of locations from glasshouses, to dairies and breweries. These paper-based locations were then translated into locations on an interactive Google map. The process of paper to screen involved a very tactile, haptic methodological approach to interrogating the paper maps with community researchers that took place over tea, cakes and with lot’s of post-its. In doing so the community and academic team produced creative outputs that led to a set of postcards and the mapping, which was then translated/collated into an interactive Google map, and used to create a dissemination platform......
Our pilot demonstrator project seeks to engage with the productive knots and tangles weaved together by ‘Mr Seel’s Garden’ through a collaboration between a broad range of partners with a shared interest in time, food and community engagement. Working with community organisations within Liverpool’s fledgling local food movement, this project will explore how engaging local communities with the changing patterns of historic food production could contribute to current grassroots efforts within Liverpool to strengthen local food capabilities and provision
This talk reflects on some of the RCAHMS experiences of working with people, to learn and underst... more This talk reflects on some of the RCAHMS experiences of working with people, to learn and understand their historic environment. Today I would like to share with you a couple of examples that I hope can illustrate why working with people can help us to reflect on our current approaches, toolkits and best practices. I shall end with outlining a programme of research through engagement into a diverse and complex landscape, that RCAHMS+HS=HES is currently developing.
Seminar aims: 1. Graffiti as archaeology, graffiti as evidence of engagement. 2. Illustrate the... more Seminar aims:
1. Graffiti as archaeology, graffiti as evidence of engagement.
2. Illustrate the range of graffiti engagements: from Prehistory to Present.
3. Past evidence of people and communities having engaged with historical places.
4. Dumbarton Rock as an example of both previous and contemporary graffiti engagements
5. Pollphail graffiti example disrupts the idea that the place is significant
6. Graffiti provides potential for multi-disciplinary collaborative projects.
This is a pdf of a powerpoint that I gave to the University of Glasgow, Archaeology Post-graduate seminar series, on 6th March 2015.
In 2016 Historic Environment Scotland (HES), Survey & Recording Group undertook a project to cons... more In 2016
Historic Environment Scotland (HES), Survey & Recording Group undertook a project to consider the identification and recording of historic and recent graffiti art. This project report sets the context for the study; describes its aims, the recording and engagement methodologies and outlines the results of fieldwork and research. In addition, the report reviews approaches to effectively archiving evidence of graffiti art and considers graffiti art as an aspect of Scotland’s historic environment. It closes w ith a set of recommendations for the organisation ’s future approach to historic and recent graffiti art.
CONNECTED WITH THE CLYDE: project report, 2016
The Connected with the Clyde project was specifically designed to provide an evaluation of the po... more The Connected with the Clyde project was specifically designed to provide an evaluation of the potential of Canmore as a research tool on future ‘Clyde’ projects by assessing the existing records of those archaeological, architectural and industrial sites that were directly connected with the river. Marine and maritime records were specifically excluded as it was felt that there would be logistical difficulties in assessing the sites in the field. The definition of ‘Connected’ is explained in the Project Plan, which also includes a list of the site-types eligible for inclusion (Project Plan Appendix 6). This assessment was carried out by first examining individual site records for accuracy and completeness; it then compared the number and range of the existing records with the number and range of ‘new’ records that resulted from a desk-based assessment of historic maps and aerial photographs and a programme of fieldwork.
Discovering the Clyde, 2016
Starting in 2014, within the Royal Commission on the Ancient and Historical Monuments of Scotland... more Starting in 2014, within the Royal Commission on the Ancient and Historical Monuments of Scotland (RCAHMS), and completing in 2016, under Historic Environment Scotland (HES), Connected with the Clyde carried out a survey of archaeological, architectural and industrial sites that were directly connected with the river. The work resulted in a substantial upgrade of the records for these sites held within the National Record of the Historic Environment (publicly available through the Canmore website). It was the first project undertaken within Discovering the Clyde, a six-year programme (2014-20) that has seen HES embark on a series of projects that will explore human interactions with the River Clyde, across space and time.
The Connected with the Clyde project was specifically designed to provide an evaluation of the potential of Canmore as a research tool on future ‘Clyde’ projects by assessing the existing records of those sites with direct connections with the river. Submerged marine and maritime records were specifically excluded as it was felt that there would be logistical difficulties in assessing the sites in the field.
The aim of ACCORD is to examine the opportunities and implications of digital visualisation techn... more The aim of ACCORD is to examine the opportunities and implications of digital visualisation technologies for community engagement and research through the co-design and co-production of 3D models of historic monuments and places. The Project also aims to reflect on the nature of the relationships between community groups, digital heritage professionals, and the outputs they have created, particularly in comparison to similar outputs produced in more traditional professional domains. The participation of interested communities in the design process will allow contemporary social values associated with heritage places to be explored and embedded in the resulting digital records and 3D objects. Finally, the ACCORD Project team will investigate changes in attitude to 3D recording technologies during the life of the project, as well as the forms of significance, authenticity, and value acquired by the resulting 3D objects
This is the book of abstracts created for the goINDIGO 2022 international graffiti symposium orga... more This is the book of abstracts created for the goINDIGO 2022 international graffiti symposium organised in the framework of the academic project INDIGO.