By Christopher Tilley

the knowledge and interpretation of historic structure, landscapes, and paintings has continuously been considered via an iconographic lens—a cognitive strategy in response to conventional practices in paintings historical past. yet historical humans didn't ascribe their visions on canvas, particularly on hills, stones, and fields. hence, Chris Tilley argues, the iconographic strategy falls wanting figuring out how old humans interacted with their imagery. A kinaesthetic process, person who makes use of the entire physique and the entire senses, can larger approximate the that means that those artifacts had for his or her makers and today’s audience. The physique intersects the panorama in a myriad of ways—through the trouble to arrive the picture, the angles that you may use to view, the a number of senses required for interplay. Tilley outlines the choreographic foundation of knowing historic landscapes and artwork phenomenologically, and demonstrates the facility of his thesis via examples of rock paintings and megalithic structure in Norway, eire, and Sweden. this can be a strong new version from one of many prime modern theorists in archaeology.

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Body and Image: Explorations in Landscape Phenomenology 2: No. 2 by Christopher Tilley


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