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Modern memorials as 'ancient monuments'
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tiompan
tiompan
5758 posts

Re: but...
Oct 02, 2012, 12:56
Harryshill wrote:
tiompan wrote:
Harryshill wrote:
tiompan wrote:
tiompan wrote:
Harryshill wrote:
Can't see any point in identifying modern from ancient.

The world is full of both and it's not marked as such, nor would it be desirable to be so


It's all part of fun /puzzle .

I feel much the same way about "art " forgeries , if those who pay the dosh/recipients can't tell the difference then who cares if it was Tom Keating or Rembrandt .


Contrasting our perceptions of a fake ,which we had initially believed to be genuine ,with a later view of the same site/ artefact in the realisation that it is a fake , provides a convenient insight into our subjectivity , a sort of instant epoché , one of the few positives to come out of phenomenology in archaeology . Basically ,fakes are good to think with .


In layman's terms then. Fakes help you tune in to what is genuine.

I assume that the clues are not just in the 'art itself but also in it's location and general landscape.

A building might appear to be Tudor, but the clues will tell you it's Victorian


What I was getting at was more to do with fakes , (as long as they are believed to be genuine ) giving us an insight into what we contribute subjectively and creatively to reality . e.g. it's impossible to listen to Wagner without the experience being coloured by our knowledge of his politics and it's associations but if you are unaware of these problems the experience can be quite different , or a visit to what is believed to be a Bronze Age stone circle will produce different emotions to the same configuration of stones if it is understood to be the result of medieval boundaries .


Ah, yes, I think I understand.

It's not the party, it's what you bring to it..

A Medieval church will evoke a different emotion to a Victorian one, but not if the Victorian 'Repro' is believed to be Medieval.. Human nature is fascinating.




Yep , it's a what an art critic might say of a Tom Keating Rembrandt believing it to be genuine minus what the same critic would say about the same painting knowing it be a fake = what you bring to the party , which is useful to know .
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