{"id":39,"date":"2021-10-24T17:32:09","date_gmt":"2021-10-24T17:32:09","guid":{"rendered":"https:\/\/pilgrimchat.chat-arch.org\/?page_id=39"},"modified":"2021-11-29T13:36:00","modified_gmt":"2021-11-29T13:36:00","slug":"program","status":"publish","type":"page","link":"https:\/\/pilgrimchat.chat-arch.org\/?page_id=39","title":{"rendered":"Program"},"content":{"rendered":"\n

*Still updating some details<\/p>\n\n\n\n

Hello CHATters,<\/p>\n\n\n\n

It’s taken a while to sort out the program, but we’ve now arranged a whole month of exciting events that we hope you’ll enjoy.<\/p>\n\n\n\n

To navigate the program, just click on each day to see the abstract and other important information prior to the event. We’ll be activating full information about each event the day before it’s timetabled to happen. Links to all live events will be sent via our subscription service by email each week. There are two sorts of event: static events (videos, exhibitions, etc.) which will have a page with content; and live events which will present some kind of discussion or activity on Zoom or Twitter. <\/p>\n\n\n\n

So, do subscribe (it is free)<\/a> and if you’d like to attend an event and you don’t receive the link two days before it’s timetabled, please email us at pilgrimchat.2021@gmail.com<\/p>\n\n\n\n

We’re looking forward to sharing a great (virtual) pilgrimage to the holy grounds of contemporary and historical archaeology… and Santiago de Compostela.<\/p>\n\n\n\n

(btw… if you happen to be in Santiago this month, get in touch and share your visit on Twitter!)<\/em><\/p>\n\n\n\n

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Day by day program<\/strong><\/p>\n\n\n\n

November 1 – [static] \/\/ Here but not here II<\/h2>
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Here but not here II: a travel guide for a destinationless journey (a PilgrimCHAT action)<\/strong><\/p>\n\n\n\n

Lara Band & Aileen Ogilvie<\/em><\/p>\n\n\n\n

Join us in a sonic mapping experience, inspired at least in part by Pauline Oliveros\u2019 Deep Listening. Starting on 1 November and running each day throughout PilgrimCHAT, participants will take turns to record and share their 1-3 minute field recording of their local environment, using the app Signal, for other participants to listen to in their own chosen location.<\/p>\n\n\n\n

Based on previous sound\/place experiments by Aileen Ogilvie and Lara Band, Here but not Here<\/em> encourages participants to tune into their environment with aural intent. Through this geographically and temporally fluid call and response, we aim to inspire thinking on how archaeology can use sound more e\/affectively, extensively and creatively, to recognise the contemporaneity and coincidence of multiple pasts, and places, in the present.<\/p>\n\n\n\n

There\u2019s no output as such, the aim is just to listen and reflect on sound throughout the month. But participants are welcome to share thoughts, and to create and share* their own remixes of and responses to all sounds, building new architectures through sound and imagination. Equipment needed: Smartphone with Signal messenger app downloaded<\/p>\n\n\n\n

Ideally we\u2019d like participants to sign up prior to the opening of PilgrimCHAT on 1st November so we\u2019re ready to go each day, but you\u2019ll still be able to sign up during November if you wish to do so. Please share this call onwards with any sound interested people you know.<\/p>\n\n\n\n

To sign up email soundstagechat@gmail.com, we\u2019ll send you further details including a link to the private Signal group and your day for recording and sharing.<\/p>\n\n\n\n

We look forward to hearing you!<\/p>\n\n\n\n

Aileen and Lara<\/p>\n<\/div><\/div>\n\n\n\n

November 1 – 18:30 GMT \/\/ Pilgrim pubCHAT<\/h2>
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Pilgrim pubCHAT – Opening un-ceremony<\/strong><\/p>\n\n\n\n

Join us in this unusual opening ceremony to know more about the month to come and gather together for a while in the spirit of classic pub CHATs … After a brief presentation of the program and the functioning of the event, we will continue socialising and sharing as a warm up for a long month of amazing events.<\/p>\n\n\n\n

Do not forget to subscribe in order to get all the updates and links for the events: <\/p>\n<\/div><\/div>\n\n\n\n

November 2 – 13:00 GMT \/\/ Archiving heritage on the move<\/h2>
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Archiving Heritage on the Move<\/strong><\/p>\n\n\n\n

Emily C. Arauz<\/em><\/p>\n\n\n\n

Recognizing that we all have stories\u2014including pasts, presents, and futures\u2014this research endeavors to capture the dynamism and diversity of our personal forms of heritage. As people move across borders, between cities, along roads, and overseas, as researchers we must recognize that heritage moves too, embodied by the individual person on the move. Heritage can be destroyed and left behind, but it can also grow and change, adapting to new languages, cultures, cuisines, relationships, and experiences.<\/p>\n\n\n\n

This project was initiated in 2016 to complement the research on the destroyed archaeological heritage of Syria and Iraq, as well as the growing research on the materiality of refugeehood and migration. Interviews with individuals, including students, migrants, refugees, artists, and cultural practitioners in Istanbul, Berlin, and Amsterdam illustrated how heritage could encompass more than the objects and buildings left behind. More specifically, responses articulated the existence of newly defined personal heritage, in addition to the shared and authorized World Heritage. The long-term goal of this project is to create an open, crowdsourced, and dynamic digital archive of heritage on the move.<\/p>\n\n\n\n

Currently, this research is in the initial phase of collecting data to build the archive, and thus, during CHAT Pilgrim 2021, I will be sharing a Google Form with questions for participants to answer, thereby contributing their own heritage to the archive. Shifting from researcher into the role of subject inevitably upends assumed hierarchies, and reminds us that we are all humans on the move with stories to share. Questions purposely designed as open-ended such as \u201cWhere are you going?\u201d create space for a diversity of interpretation. Ultimately, through the dynamic processes of dialogue, sharing, recording, and archiving, I aim to preserve snapshots of these ever-evolving forms of heritage as they exist in a moment of time in November 2021.<\/p>\n\n\n\n

Please join me and share your stories, define your heritage, and start a dialogue with future collaborators on the move around the world: https:\/\/sites.google.com\/view\/heritage-on-the-move-archive\/home<\/a> . By filling out the form, you will have the option to leave your name and contact information if you would like to receive future news about this project.<\/p>\n\n\n\n

*There will be a wrap up presentation on November 30.<\/p>\n<\/div><\/div>\n\n\n\n

November 3 – 18:00 GMT \/\/ An archive of suburban Minnesota pilgrimage<\/h2>
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An archive of suburban Minnesota pilgrimage<\/strong><\/p>\n\n\n\n

Sophie Durbin<\/em><\/p>\n\n\n\n

Pilgrims of the early medieval world traveling to the Holy Land transformed sacred topography into collectible artifacts by archiving soil, rocks, and pieces of relics into portable reliquary boxes (see: examples from the Sancta Sanctorum treasure in the Vatican). The boxes allowed travellers to access their devotional experiences by interacting with these blessed materials after their journeys ended. Drawing upon perceptions of place in medieval pilgrimage as well as modern artistic attempts to re-conceptualize place, this digital exhibition transforms materials of the suburban Minnesota landscape into contemporary relics through a series of artist-made reliquary boxes.<\/p>\n<\/div><\/div>\n\n\n\n

November 4 – 12:30 GMT \/\/ Into the Heart of the Mound<\/h2>
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Into the Heart of the Mound<\/strong><\/p>\n\n\n\n

Sarah May<\/em><\/p>\n\n\n\n

I miss London. Although I have never lived in London the perambulations of my life have swung around the city. My grandmother lived there, and my best friend. Sometimes I\u2019ve worked there. I was married there.  I haven\u2019t travelled to London now for 19 months, the longest haven\u2019t made that pilgrimage since 1986.<\/p>\n\n\n\n

Now I hear that they have built a mound at Marble Arch \u2013 or something like a mound, but not really a mound – and it reminds me of the not-a-mound which I travelled to before coming to London in 1986, the passage tomb of Knowth where I was learning to dig. And another mound, Silbury Hill, that was a mound but people couldn\u2019t believe that it was just a mound, that I travelled to every week in the year my grandmother died, because making it just a mound again was complicated.<\/p>\n\n\n\n

So the not-a-mound draws me to London, as mounds often do, despite the disappointment with which it has been greeted. This short film will share the physical, mental and emotional journey, tying in the other mounds and not-a-mounds along the way. I want to reflect on how the place changes as I move towards it \u2013 how archaeological approaches work at a distance, and in the heart of the mound.<\/p>\n<\/div><\/div>\n\n\n\n

November 5 – 20:00 GMT \/\/ Graffiti Tourism<\/h2>
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Graffiti Tourism: from Mark Makers to Mark Seekers<\/strong><\/p>\n\n\n\n

Emma Bryning<\/em><\/p>\n\n\n\n

As an act of mark-making, graffiti can be understood as a form of visual communication; as an example of self-expression or as an art form; as part of both a subcultural practice and a global movement; as an historic record; and as a way to understand local environments as they can contribute to a sense of \u2018place\u2019. Alongside all of this, graffiti can also be viewed as physical evidence of movement and a type of materiality left behind which can help shape the landscapes and environments around us.<\/p>\n\n\n\n

Graffiti as a form of \u2018materiality of movement\u2019 can be evidenced in both historic and contemporary marks: this includes the recurring connection between freights, trains, subways and graffiti; marks created at pilgrimage sites as a \u2018mark of prayer and thanksgiving\u2019 (Easton 2015); the aesthetics and physical form of modern graffiti which often includes suggested movement in their design; how images of graffiti are increasingly shared across the globe – providing graffitists which new international audiences – and the interesting connection between tourism and this mark-making practice. Matthew Champion has written that graffiti can become more prominent at times when populations become more mobile (2017, p7). This idea can be seen in graffiti connected to the Grand Tour when individuals would sometimes leave marks as part of their tourist experience, as part of a cultural pilgrimage, and how leaving graffiti at heritage sites became an increasingly common practice in Britain in the 19th-century due to factors including increased leisure time and the advent of the railways. This practice of leaving a mark to state \u2018I was here\u2019 continues to be a common practice to this day, as many individuals leave something behind of themselves as they visit new spaces, as tourist marks, or as a way of forging a connection with the environments around them as they move between spaces, such as with tagging. Whilst historic and contemporary tourist graffiti can be understood as evidence of the materiality of movement, graffiti and street art can increasingly attract tourists themselves with individuals travelling to see particular pieces or graffiti hot-spots. Consequently, graffiti can both serve as evidence of travel and tourism, the mark-makers, and also as part of the reason for such movement, the mark-seekers.<\/p>\n\n\n\n

Alongside the presentation, there will also be a digital exhibition displaying a variety of photographs which demonstrate the relationship between graffiti, tourism and movement, featuring marks made in a variety of different contexts and from a range of historic periods. These images will come from a collection of photographs taken during the course of my research project so far, which seeks to explore whether understanding graffiti creation today can help us to better understand their role in the past. Each photograph will be accompanied by a description as well as location information in case viewers are able to and want to seek-out the graffiti in-person for themselves. The digital exhibition will include photographs displayed on an Instagram page and a 3D virtual gallery, the latter being temporary for the duration of the conference and, thus, reflecting the often ephemeral nature of graffiti itself.<\/p>\n<\/div><\/div>\n\n\n\n

November 6 – [static] \/\/ Eat, sleep, walk, grafeet<\/h2>
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Eat, sleep, walk, graffeet: tangible evidence of the modern pilgrims\u2019 mindset<\/strong><\/p>\n\n\n\n

Sophie Martin<\/em><\/p>\n\n\n\n

The graffiti of the final 100km along the French Way of the Camino comprises ink scrawls of text. The graffiti is in the context of pilgrimage and the Camino, however, it is not sentiments of well-wishes or religious motifs as one might expect. Instead, the predominance of the gravity comprises a destination focused text. An example of this is \u2018Santiago didn\u2019t start in Sarria\u2019, is suggestive of the competitive mindset of modern pilgrims that believe they have travelled further than those around them. Whilst this is certainly the case for some pilgrims, who have travelled from Burgos, Le\u00f3n, Roncesvalles, or even St Jean Pied de Port (780km from Santiago de Compostela), others travelled from much further afield, and some from Sarria (100km from Santiago de Compostela). The underlying tone of such graffiti suggests a competitive element of the Camino and challenges the concept of a \u2018real prilgrim\u2019 amongst those that travel the Camino.<\/p>\n<\/div><\/div>\n\n\n\n

November 7 – \u224810:30 GMT \/\/ CAT-WALK<\/h2>
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CAT-WALK<\/strong><\/p>\n\n\n\n

Angela Piccini, Sefryn Penrose & Carlo<\/em><\/p>\n\n\n\n

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