Share your momentos and memories of festivals past!
We would love to see your collecions of wrist bands, tickets and badges etc from festivals and gigs you have been to in the past! With a summer of restrictions around the world, many of us have missed out on those chilled (or not so chilled …) days under the summer sun, trying to find your tent at night or wading through mud at our favourite festival.
So, dig out those shoeboxes from under the bed and let’s share memories of those good times!
We’ve created a new hashtag to bring all of your collections together. Take some pictures and post them on line:
#festivalspast (Twitter, Instagram and Facebook)
#festivalchat2020 (please use the main festival hashtag as well!)
Thanks to Hilary Orange (chief CHAT festival goer…) for these great photos to get us started!
To dwell in the world during the Coronavirus pandemic is to witness the collision of theory with experience. As we live through this unique historical moment, experiencing isolation, emptiness and absence in almost unprecedented ways, it is worth reflecting on the manner in which our bodies respond to a world drained of physical presence. I argue that an awareness of absence—and thus, conversely, of presence—should be considered as one amongst the almost infinite number of senses with which we are endowed. This sense should be understood as a physical and an emotional sensitivity not only to the absence of human presence, but also to the absence of things—a condition that is made appreciable through the complex relationship that exists between part and whole, non-place and place, here and gone. As is evident in so many instances, it is in the interstitial “spaces between” these categories that both meaning and material accumulate. Taking the remains of the abandoned Rocky Point Amusement Park in Warwick, Rhode Island as a case study, this presentation explores the ways in which the material environment at the park has been altered by visitors to reflect an awareness of absence through mark-making and graffiti.
In 2019 Scottish archaeologists, anthropologists, artists, heritage sector practitioners and students disorganised in four workshops to explore contemporary archaeology in Scotland. The participants were provided with notebooks to chart their workshop journeys in writing, drawing, photographs, paste-ups and collages. This is an exposition of those workshops, presented in a non-linear manner with no coherent thread. We have no idea what will be presented. We don’t care if it’s complex: we embrace chaos, disruption and incoherence!
Archaeological landscapes are not static entities. Natural and cultural processes such as erosion, sea level rise, mining, and urban development are constantly reshaping the world around us. This has implications for the way we manage, excavate, and interpret the archaeological record. Through the use of historical maps, aerial imagery, and modern mapping software it is possible track how landscapes have changed through time. This talk will provide some examples of this analysis both from Victoria, Australia, and New Zealand.
A huge array of artefacts were found on the site of London and Paris House, an 1860s-1870s fancy goods store in Christchurch, in 2017. The assemblage contains a fascinating array of objects not often seen in the domestic archaeological record and provides a rare window into the material culture of a retail space, a commercial perspective on shopping and consumer choice. It is also one of the case studies from my thesis, which looks at the availability and use of goods in nineteenth-century Christchurch, New Zealand, particularly how much control people had over their shopping choices and how much was shaped by the cultural and economic worlds in which they lived.
In this blog, Richard MacNeill set out to understand the relationship between water catchment and community in Kythera, but ended up shifting to the goldfields of Victoria, Australia. The two are oddly complementary…
As an anarchist, a mother, an archaeologist, I’m deeply concerned with making kin through the investigation and care of objects, places, and people. Finding a politics of joy and intimacy, and building things together as a way to resist Empire. In this short film I gave an alienated object, a child’s shoe, to my kin, the caretakers of the discarded to understand and reanimate this object, even as it disintegrated in our hands.
The film is 5 minutes long. Shoe was a project curated by Doug Bailey and Sara Navarro for the Ineligible Exhibition at the International Museum for Contemporary Sculpture in Santo Tirso (Portugal) as part of the exhibition Creative (un)makings: Disruptions in Art/Archaeology. More details here.
Our vlog shows how you can still research the world when confined to your home or neighbourhood. Within 200 yards of our home we can zoom out from tiny personal knowledge, to broader natural disasters, and world events. We start in our home and talk about its history, show how high the water came during the flood of 1953 according to the stories of our late neighbour, then connect and walk to the monument around the corner remembering the fire line (brandgrens) in Rotterdam of May 1940. It shows how the bombardement in Rotterdam, which led to the surrender of The Netherlands, can be found in the buildings, urban myths and official commemoration.