Interaction of Multiple Communicative Channels
In the discussion above of the three case studies, I have considered these text objects through their roles in ordering a variety of landscapes, while also considering how ancient viewers would have interacted with their material forms. In thinking and writing about these objects I have, at times, had to remind myself that our collective focus is on text (not image) and materiality: image and text intersect and intertwine in profound ways on Maya objects, and it is difficult and problematic to attempt to separate them.
The implications of this are several. These objects have powerful voices because there are multiple interpretive modes through which they can be engaged. Literacy is not a black and white proposition for ancient Maya individuals (Houston and Stuart 1992), and one can imagine different levels or types of understanding that would have guided readings of these text objects at varying depths. I argue that the wide range of possibility in reception of these texts makes them powerful as technological agents, and efficient in accomplishing their orientational work — though, presumably, with differing results depending on the viewer’s knowledge and interpretation.
I also want to point out that in the preceding discussion, I have often referred to the content of the texts, despite our interest in this volume in moving beyond a transparent reading, and engaging with material practices connected to such text. I have attempted to combine an understanding of the material forms of these text objects with commentary on the content; in the subsection that follows, I will look more closely at how the form of each object impacts the way the text is consumed, and thus how the work of the text object is accomplished. Nonetheless, in thinking about juxtapositions of text and materiality, the examinations above have underlined how analysis of contextualized content, in fact, returns us to material practice, in the form of orientations that shape ancient individuals’ sense of self and place — and, by extension, resulting action — within the spheres that they inhabited. As these text objects were encountered and interpreted, they acted to provide direction and instruction to the viewers, through both form and content.
Material Forms of Text Objects
In thinking about Piedras Negras Panel 3, Río Azul Vessel 15, and the Naranjo weaving bones, I acknowledged the different forms of each, and imagined something of how each text object would have been interacted with. What is the impact of the different material forms of these text objects on the work that they accomplish in providing orientation in a number of planes? What is significant about the physical form that they take, and the way that this form is experienced by the viewer?
At Piedras Negras, the ancient viewer would have stood in front of Structure O-13, on the edge of an open, paved plaza, having traveled to this place to see this object, or encountered it by chance while walking through the city. The Río Azul pot was passed from hand to hand, tilted for pouring, set down on the floor, picked up again and filled with fragrant liquid. It was displayed and moved. At Naranjo, the weaving bones were put to use in a loom, and then folded up, perhaps, in a cloth pouch for safekeeping. They were touched and moved, possibly shared with a fellow crafter, and occasionally broken.
As we consider these texts as technology, we must picture how they are put into play and used. By imagining an ancient viewer, we are invited to consider how the text is consumed or internalized. Each of these objects accomplishes their work, and allows for engagement or interaction with itself, through the interface of its material form.
In the case of Panel 3, the form that this text object takes is — clearly — a carved stone wall monument. But, I would argue, thematically this text object operates as a frame. Visually, we perceive a social and architectural space (which the text itself helps to bound). The types of local and distant orientation discussed for this monument — spatial, temporal, political — are conveyed through things understood to be within this frame, or to exist beyond its borders.
Analyzing the form of Vessel 15 from Río Azul reveals that, not at all surprisingly, it is (and acts as) a container. It holds literal and metaphorical substances that may be consumed or replenished within this volumetric space, and which allow for the storage and movement of these substances to other places and for other people. As a container, this vessel is handled and handed on: it moves between social spaces on individual and group scales.
Finally, the weaving bones are implements. They carry out work in direct and indirect ways, and are personal and connective when used for their primary function. As they move in and out of sight, they pass through important substances (textiles), and enter into a recursive process of creating further communicative avenues. Their changing nature is a reminder of the dynamism associated with tools and text objects, as well as their products.
These may seem like less than revolutionary characterizations of these text objects — I am merely placing them into broader descriptive categories. And yet, each of these thematic characterizations says something about how the text and message are transformed by the particular form in, or on, which they are expressed. These descriptors similarly suggest how these texts are interacted with and the modes through which they are interpreted. As we think about these material forms carrying out the orientational work I have described throughout this paper, it becomes clear that the material nature of the text objects themselves provides the avenue through which this expression and maintenance of cultural landscapes is carried out.
Effectiveness Through the Real and the Imaginary
In considering the cultural landscapes that are created and maintained through texts and written technology, I have emphasized that some of these are real and tangible, while others are abstract, distant, or even imaginary to the viewer. Thus, these objects operate on, and locate individuals within, far wider spheres than immediate experience would yield. As we consider the ways that the material forms of these text objects make them particularly effective in their work, we must also notice the effectiveness of these objects in terms of how they combine or juxtapose the real and the imagined.
Throughout, the interest here has been in remaining in touch with the materiality of these objects — these are artifacts, things, that could be (and still can be) touched. In this sense, there is no ‘realness problem’ with these objects. They were physically present in the ancient world, and remain physically available today. And yet, these objects are static and unanimated: a frozen stone scene of a court, a pot, a collection of carved pieces of bone. For them to carry out their work most effectively, they are used, interacted with, made part of social practices. Intriguingly, some of the very same characteristics I have highlighted in terms of the material natures of these objects are ones that in a very different field, that of literary studies, have been argued to provide authors with powerful ways to lift objects from the page and allow the reader to vividly animate textual descriptions (Scarry 1999). According to Scarry, the presence of a frame (beyond which bodies move, enter, and exit), a tilting motion (of a vessel poured and righted again), and the action of repeated appearance and disappearance (of a bone weaving implement) all are key characteristics of the vivacity of image in literary and cognitive contexts (Scarry 1999: 100–157). In our case, these objects are not imagined, and do not need to be lifted from a two-dimensional page. However, it may be that their physical properties render them especially nimble for being put into motion in the mind, or recalled later when not present or not in active use. By the nature of their material forms, and the ways that these forms are used in practice, these text objects hold particular promise for vivacity and duration in the effects of their work.
