Temporal Ripples in Art/Archaeology Images (in colour)

Ian Dawson, Andy Jones, Louisa Minkin and myself have just published an edited volume titled: Diffracting Digital Images: Archaeology, Art Practice and Cultural Heritage (Published December 28, 2021 by Routledge 224 Pages 70 B/W Illustrations. ISBN 9780367486556 )

Chapter 7 Temporal Ripples in Art/Archaeology Images by Simon Callery, Ian Dawson and Paul Reilly has a number of b/w images which in an ideal world would be printed in colour. We would like to share these colour images below.

Colour Figure 7.1 Raindrop diffraction patterns and canvas washing. River Severne, Maverley (Simon Callery copyright 2020. DACS – All Rights Reserved)
Colour Figure 7.2 Temporal diffraction patterns displayed using RTI Viewer
Colour Figure 7.3 Simon Callery developing a contact painting panel in an excavation trench
Colour Figure 7.4 Simon Callery in his Purfleet studio (Simon Callery copyright 2020. DACS – All Rights Reserved)
Colour Figure 7.5 H-RTI frame of Flat Painting Bodfari 14/15 Ferrous, Sinon Callery 2014-15, canvas, distemper, thread, wood, and aluminium, 293 x 182 x 19 cm (Simon Callery copyright 2020. DACS – All Rights Reserved)
Colour Figure 7.6 Simon Callery studio: H-RTI detail of panels in progress (Simon Callery copyright 2020. DACS – All Rights Reserved)
Colour Figure 7.7 Specular enhancement RTI detail of Simon Callery’s Flat Painting Bodfari 14/15 Ferrous.
Figure 7.8 RTI of PLAg (Dawson 2020), polylactic acid on aluminium on plywood base, 20 x 12 x 82 cm
Colour Figure 7.9 Sceen grab of a remote dirty RTI session in Ian Dawson’s plastic studio
Colour Figure 7.10 Remote dirty-RTI entanglement – memories of its iterative reconfigurings – ‘diffraction patterns of be(com)ing

Diffracting Digital Images Book Description

Digital imaging techniques have been rapidly adopted within archaeology and cultural heritage practice for the accurate documentation of cultural artefacts. But what is a digital image, and how does it relate to digital photography? The authors of this book take a critical look at the practice and techniques of digital imaging from the stance of digital archaeologists, cultural heritage practitioners and digital artists.

Borrowing from the feminist scholar Karen Barad, the authors ask what happens when we diffract the formal techniques of archaeological digital imaging through a different set of disciplinary concerns and practices. Diffracting exposes the differences between archaeologists, heritage practitioners and artists, and foregrounds how their differing practices and approaches enrich and inform each other. How might the digital imaging techniques used by archaeologists be adopted by digital artists, and what are the potentials associated with this adoption? Under the gaze of fine artists, what happens to the fidelity of the digital images made by archaeologists, and what new questions do we ask of the digital image? How can the critical approaches and practices of fine artists inform the future practice of digital imaging in archaeology and cultural heritage?

Diffracting Digital Images will be of interest to students and scholars in archaeology, cultural heritage studies, anthropology, fine art, digital humanities, and media theory.