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GENERAL
Visual
ARTICLE
Art,
and
Archaeology
Gestalt
RobertWenger
ABSTRACT
excavation
Archaeological
hasmuchincommon
withthevisualarts.Archaeological
excavatorsandvisualartistsareinvolved
ina processof imageformation.
andrepliTheynotonlydocument
catetheappearance
ofthings,but
alsomakeideas,conceptsand
visible.TheGestalt
experiences
of similarity,
principles
proximity,
andclosureprovide
a
continuity
howthemind
wayto understand
ordersandgroupsthecomplex
visualrelationships
thatarecreated
andobserved
ina givenfieldor
environment.
Gestalt
research
into
finds
figure-ground
relationships
inthearchaeocorrespondence
logicalconceptof object-context.
Theseideasfinda philosophical
intheimagery
correspondence
andteachings
ofTaoism.
Together
theyofferaninterdisciplinary
way
to thinkabouttheshapes,patternsandstructure
oftimeand
change.
DEFINING GESTALT
Gestalt is a kind of psychological thinking that is primarily
concerned with how the mind unifies and orders the percep-
? 1997 ISAST
Robert Wenger (art educator, archaeological excavator, artist), Department of Fine and
Applied Arts, School of Architecture and Allied Arts, University of Oregon, Eugene, OR
97403, U.S.A.
35
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an enclosure,
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36
the
of the area, who acknowledge and protect these specific locations and may, in
fact, actively pursue their own spiritual
and religious quests there.
If this is indeed the case, then these
vision-quest sites are open artistic works
of changing parts and wholes [ 15]. They
give tangible expression to my personal
definition of art as visual inquiry. According to this view, the contemporary
vision-quest artist would use whatever
materials are at hand to express and
clarify meaning. In this particular example, the context and meaning of the
spray-painted imagery would be valued
more than the refinement of the materials or the technique used to express the
idea. It is likely that maintaining the
spiritual continuity of the site would be
more important than celebrating the
specific vision-quest images themselves.
This emphasis on continuity, context,
openness, substance and meaning is an
important part of visual inquiry. This
definition supposes that, by giving a visible form to thinking and feeling, the vision-quest artist attempts to gain clarity
and understanding about phenomena
and how things fit together. Clarity and
understanding-and not the objects or
artifacts that reflect the inquiry-are the
goals. As visual inquiry, art is simply a
way of knowing, understanding, integrating and synthesizing experience.
The actual process of makingartifacts or
art objects is not a central issue. The
emphasis is on usingartifacts and objects
as landmarks to facilitate the mapping
of the creative and spiritual journey. In
this expanded view, artifacts and art objects are valued because they precede,
rather than conclude, the results of the
investigation. By themselves, they are of
secondary importance to the clarity and
understanding that comes from the
overall inquiry.
in
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ut
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;Z
*:
:
:?1.:...
.I: ???1?*
p?:?::?il?.
'r?r
s**r..
:... .
;. ;::::.. irl:.
Fig. 2. The Gestalt of art and archaeological excavation refers to the act of perceiving visual relationships as well as the process of giving these relationships a structured form.
Like the visual artist who arranges graphic elements on a piece of paper, the archaeological excavator creates and interprets the visual patterns that emerge from the ground.
GRIDS OF STRING
AND PAPER
The archaeological grid is not unlike a
blank piece of paper placed before the
artist to receive ideas, thoughts and im-
and Gestalt
37
'a'
'-
!t'
is to re-establish the
GESTALT AND
ARCHAEOLOGICAL
COMPOSITION
de ping
38
ible world as much as it makes phenomena visible [22]. The archaeological excavator,for example, makes phenomena
visible by removing the soil that covers
artifacts and buried surfaces.
Through drawing, diagramming, photography and other graphic means, the
archaeologist reproduces the appearance of the graphic elements that
appear during the excavation. The archaeological arrangement or composition that results is based on the elements
that are left in place, such as artifacts, as
well as the elements that are finally discarded-for
example, intrusive elements such as recent rockfall and other
debris. Determination of what is intrusive or indigenous to the excavation is a
learned but essentially aesthetic process
of making choices (Fig. 2). Split and
fractured rocks from an abandoned
hearth, for example, have a different
texture than do errant and unmodified
river cobble. The excavator must be able
to tell the difference between an occupation surface, or living floor, and one
that reflects a geological discontinuity.
The archaeological setting, like an artistic composition, is not merely an accumulation of material objects or graphic
elements. Within the boundaries of the
archaeological grid, each piece of material evidence acts in concert with the immediate setting and overall surround to
form a configuration of visual forces
[23]. Anthropologist H.G. Barnett views
this configuration of visual forces as an
"integrated activity system" that is first
perceived as a homogeneous entity without parts. Upon analysis, the parts come
into consciousness,
forming other
wholes that carry their own specific
properties and sets of relations. Like the
spiritual whole of the vision-quest site, a
Gestalt configuration does not have to
assume a tangible shape-it can be an
idea or feeling. A visible frame of reference and "segregated whole," on the
other hand, give experience a tangible
form [24]. A configuration of visual
forces is based in perception and follows
the "laws"of perceptual organization established through Gestalt research. In
this sense, the principles of Gestalt lie
halfway between art and science.
GESTALT SIMILARITY
In a typical archaeological site along the
Oregon coast, the major visual components are mounds of discarded shells
and hundreds of fire-blackened river
cobbles used in processing shellfish.
Looking at this site from a distance,
grammatictracing
of a partial cross-
'
":
section of a coastal
shell mound, individual shell deposits
are indicated by differences in texture.
The whole of the
cross-section is
formed by a number of contiguous
parts. This contiguous relationship
through time provides a visible continuity to different
shell gathering episodes. Breaks within
this continuity suggest the presence of
change in an otherwise smooth progression of events.
39
ARCHAEOLOGICAL TERMS:
GESTALT IDEAS
At a site in the Willamette Valley in Oregon, archaeologistJohn R. White identified no less than 12 different rock cluster variables and attributes that operate
within the context of the Gestalt prin-
FORECASTINGTHE FUTURE
Many of the patterns in an archaeological excavation continue unseen, below
and beyond the string and wooden
stakes that act as a temporary frame of
reference. Many patterns extend into
parts of the site that will never be exca-
Fig. 5. To the excavator, a semicircle of stones presents a circular hearth only half exposed. Wholeness is suggested by the continuity of
the visible parts. The image on the left shows a 1-x-3-m portion of a prehistoric hearth as it was first excavated. The image on the right
shows the same portion after rocks were removed to expose the original rock-lined pit. The other half of the circular hearth was subsequently excavated.
40
VisualArt,Archaeologyand Gestalt
Wenger,
ARCHAEOLOGICAL
OBJECT
AND CONTEXT
In the same way that a Gestalt figure is
dependent upon its ground, archaeological research depends on the balanced relationship between the artifact
and its background context. This is because each artifact or object within a
given setting is dependent on and affected by the conditions present in the
environment or background setting of
which it is a part. This background context determines how the figure is per-
41
ABSTRACTIONS FROM
EXPERIENCE
Fig. 7. A mano (stone grinding slab) and a metate (stone grinding tool) appear as first excavated. The light-colored half was excavated first and has dried in the sun. The dark half
was last to be excavated and retains moisture from the soil. Mano and metate were part of
an uninterrupted continuum. Their excavation and removal from the site is an abstraction
and withdrawal from experience. This abstraction and withdrawal, however, is a way to give
the past a tangible form.
42
Fig. 8. The well-known Taoist image shown at left can be seen as a perfectly balanced symbol of interaction between light and dark; black
and white; positive and negative; concave and convex; figure and ground; and object and context. Perceptual correspondence with this
image is apparent in reversible figure-ground images such as the example on the right, which is based on the letter E. As the mirror-image
letters grow closer together, they form the letter H. At this point there is an alternation between the figure of the H and the ground,
formed by the doubled letter E. This figure-ground fluctuation is based on the Gestalt principle of proximity, and is conceptually equivalent to the sequential unfolding of archaeological grids across the landscape and the vertical unfolding of individually excavated 10-cm
levels or layers. These, in turn, are conceptually equivalent to the unreeling of a film. The smaller the spaces between individual frames
of reference, the greater the possibility of apprehending a sequence of images simultaneously.
/^mmry,
43
3. Artist and writer Gyorgy Kepes offers his assessment of the nature and value of visual experience:
"Every properly functioning human being transforms the visual signals that he receives from outside into structured, meaningful entities. Without
the perceptual ordering of his sense responses into
images of things in space, man cannot orient himself. Without shaping his physical environment in
accordance with these images, he cannot survive."
G. Kepes, ed., Educationof Vision,Vision and Value
Series, Vol. 1 (Taiwan: Central Book, 1965) p. i.
44
and Gestalt
p. 239.
In a publication entitled Notebooks of the Mind, author VeraJohn-Steiner
examined the role of visual-
(New York:
R. Behrens,
Illustration
as an Art (NJ:
Kepes,
Language
of Vision
(Chicago,
IL: Paul
to
cremation,
'positivistic,'
'summative-aggrega-
tive,' 'mosaic-like,' 'additive,' 'piecemeal,' 'mechanistic' and 'mechanical.' Each of these characterizations is supposed to hit upon a weakness of the
older psychology." D. Katz, Gestalt Psychology: Its Nature and Significance, Robert Tysoin, trans. (New
45
46
characteristic thing about phenomena is their dynamism. It is only abstract thinking that takes them
out of their dynamic continuity and isolates them
as static units." See H. Wilhelm [18] pp. 17-18.
47. "Rather,it is a book that offers guidance on how
to act, and to suffer, in our world of appearances.
For those who act and suffer in this world, the representation is closer than the prototype.... potential formation becomes a shape in space, the image
becomes mere space, the process becomes the
stage." See H. Wilhelm [45] p. 121.
48. Arnheim offers an in-depth perceptual analysis
of the T'ai-chi tu or yin-yang symbol. See Arnheim
[4] pp. 222-244. Watts also discusses the T'ai-chi
tu, or yin-yang symbol, but in terms of traditional
meanings. See Watts [10] pp. 49-71.
49. "Von Hornbostel has emphasized as universal
the difference between the concave and convex,
the embracing and the aggressive, which correspond to the figure-ground difference. It is as
though the dynamics of each field part, the forces
to which they owe their existence, were at least
vaguely revealed in consciousness, i.e., in properties of the behavioral environment." See Koffka
[35] pp. 192-193.
50. To the Taoists, time and change are evidenced
by a number of configurations and functional phenomena that correspond to the alternation between figure-ground and concave-convex in the
T'ai-chi tu or yin-yang symbol. These include the
alternation between firm and yielding, opening
and closing, above and below, inside and outside,
expansion and contraction, and the appearance
and withdrawal of vegetative matter in a seasonal
sense. See R. Wilhelm [18] pp. 262-355.
51. In an appendix to Innovation: The Basis of Cultural Change entitled On Things, anthropologist
H.G. Barnett discusses various shapes and configurations of time that parallel the Taoist idea that the
simultaneity of experience is an ideal. "Weare thus
led to the conclusion paralleling the one arrived at
with respect to spatial configurations; namely, that
simultaneity is not a fundamental aspect of time
configuration. It is as illusory as absolute contiguity."Barnett [8] p. 422.
52. See Kohler [33] p. 59.
53. R. Fischer, "A Cartography of the Ecstatic and
Meditative States," Leonardo6, No. 1, 59-66 (1973).
Bibliography
Hall, E.T. The Hidden Dimension (Garden City, NY:
Doubleday Anchor, 1969).
McKim, R.H. Experiences in Visual Thinking
(Monterey, CA: Brooks/Cole, 1980).
Munro, T. TheArts and TheirInterrelations,Revised
and Enlarged Ed. (Cleveland, OH, and London:
Liberal Arts Press by the Press of Case Western Reserve Univ., 1969).
Rawson, P., and Legeza, Laszlo. Tao:TheEasternPhilosophyof Timeand Change(London: Avon, 1973).
Stern, T. TheKlamathTribe:A Peopleand TheirReservation (Seattle, WA and London: Univ. of Washington Press, 1966).
Toepel, Kathryn Ann; Beckham, Stephen Dow; and
Minor, Rick. Native AmericanReligiousPracticesand
Uses in WesternOregon,Univ. of Oregon Anthropological Papers, No. 31 (1984).
Manuscript received 13June 1994.