This article explores how a relational ontology of landscape provides important insights into the contexts and meanings of Northern Algonquian rock art of the Canadian Shield region. I propose that rock art emerged within and cemented a potent moral landscape that was experienced in terms of reciprocal relations between human and ‘other-than-human’ persons. Rather than counterposing dualities of natural and supernatural, this landscape was predicated on the flow of power between agencies in a relational and intensely social universe.
This article examines how personhood was shaped in the routine dispositional relations of longhouse life among the Iroquoian societies of eastern North America. Drawing on scholarship that situates the emergence of culturally-specific modes of personhood within relational networks of people and things, I present evidence that over seven centuries, a deep resonance developed between the ‘polyvalence’ of Iroquoian domestic spaces and a broadly ‘fractal’ (sensu Fowler 2004) or ‘part-in-whole’ sense of personhood in Iroquoian societies. An ethnohistoric review of seventeenth-century Ontario Iroquoian concepts of personhood is followed by an archaeological analysis of the development of longhouses between the tenth and sixteenth centuries. I report the results of a kernel density estimation (KDE) analysis of the spatial distribution of post and pit features across longhouse living floors in a diachronic study of 45 hearth areas. The results indicate that everyday practices within the longhouse came to follow several characteristic patterns by the mid-twelfth century ad. These patterns served to define ‘polyvalent’ relationships in which resident persons and nuclear families were at once identifiable as distinct social atoms and as inextricable components of larger hypostatic wholes — most especially house and lineage. A fundamental coherence was thereby established between the embodied experience of domestic taskscapes and a mode of personhood in which any social whole was understood as a dynamic and partible alliance of elements.
Can archaeology make sense of art ‘after interpretation’? Post-human scholarship suggests that conventional approaches to art, guided by Cartesian ontology, fail to account for the deeper kinship between things and thoughts. But the growing disillusionment with representation leaves art and the semiotic questions it raises in limbo. Can we recover an adequate social theory of art, semiosis and the subject in a post-humanist world? I submit that we can by building on Eduardo Kohn's thesis that life beyond the human is constitutively semiotic. Art, as a semiotic involution of life's animating processes, is form-taking and form-replicating activity. This form-taking is open-ended and prospective, continuously reaching beyond itself to refigure specific cases as general kinds. This occasions a process of emergence through which novel ‘reals’—including societies and selves—are produced. Extending Sahlins’ definition of kinship to include human/non-human relations, I argue that seventeenth-century Iroquoian art was about kinning—the making of relatives—and its power to form and reform relations of all sorts was central to its success.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.