The image-based discourse on clay figurines that treated them as merely artistic representations, the meaning of which needs to be deciphered through various iconological methods, has been severely critiqued and challenged in the past decade. This discourse, however, has largely shaped the way that figurines are depicted in archaeological iterations and publications, and it is this corpus of images that has in turn shaped further thinking and discussion on figurines, especially since very few people are able to handle the original, three-dimensional, physical objects. Building on the changing intellectual climate in figurine studies, we propose here a framework that treats figurines as multi-sensorial, affective and dynamic objects, acting within distinctive, relational fields of sensoriality. Furthermore, we situate a range of digital, computational methods within this framework in an attempt to deprive them of their latent Cartesianism and mentalism, and we demonstrate how we have applied them to the study of Neolithic figurines from the site of Koutroulou Magoula in Greece. We argue that such methodologies, situated within an experiential framework, not only provide new means of understanding, interpretation and dissemination, but, most importantly, enable researchers and the public to explore the sensorial affordances and affective potential of things, in the past as well as in the present.

中文翻译：

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数字感官：来自希腊 Koutroulou Magoula 的新石器时代雕像

以图像为基础的泥人话语仅将泥人视为艺术表现，其含义需要通过各种图像学方法来解读，在过去十年中受到了严厉的批评和挑战。然而，这种话语在很大程度上塑造了考古迭代和出版物中描绘小雕像的方式，正是这种图像语料库反过来又塑造了对小雕像的进一步思考和讨论，特别是因为很少有人能够处理原作，三维，物理对象。基于小雕像研究中不断变化的知识氛围，我们在此提出了一个框架，将小雕像视为多感官、情感和动态的对象，在独特的、相关的感官领域中发挥作用。此外，我们将一系列数字、在这个框架内的计算方法，试图剥夺他们潜在的笛卡尔主义和心智主义，我们展示了我们如何将它们应用于希腊 Koutroulou Magoula 遗址的新石器时代小雕像的研究。我们认为，这种位于体验框架内的方法不仅提供了理解、解释和传播的新手段，而且最重要的是，使研究人员和公众能够探索事物的感官可供性和情感潜力，以及过去就像现在一样。