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° Matthiae, 2012: 482-483; Winter, 2016 ‘0 Grignon, 2001: 24.

Figure 3 ° Matthiae, 2012: 482-483; Winter, 2016 ‘0 Grignon, 2001: 24.

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Fig. 1: Assyrian ivory plaque, Kalhu, Fort Shal- maneser (Metropolitan Museum of Art, New York 59.107.22; Drawing by Steve K. Simons — Panoply Vase Animation Project for GALATEO project). As already pointed out, these banquet scenes, perhaps including the ivory plaque, must probably be considered as a direct and positive consequence of spe- cific activities, such as the war and the hunt depicted in the lower registers of rooms 2 and 7.” Thus, they probably do not represent daily meals, but exceptional episodes which were likely organized in the royal palace to celebrate and com- memorate a specific event. Now, as observed by Claude Grignon, commensality is a manifestation of pre-existing social groups, whose differences and classifica- tions can be based on age, gender, and ethnic identity, or on voluntary associations of a political and/or religious nature.!° memorate a specific event. Now, as observed by Claude Grignon, commensality
Fig. 1: Assyrian ivory plaque, Kalhu, Fort Shal- maneser (Metropolitan Museum of Art, New York 59.107.22; Drawing by Steve K. Simons — Panoply Vase Animation Project for GALATEO project). As already pointed out, these banquet scenes, perhaps including the ivory plaque, must probably be considered as a direct and positive consequence of spe- cific activities, such as the war and the hunt depicted in the lower registers of rooms 2 and 7.” Thus, they probably do not represent daily meals, but exceptional episodes which were likely organized in the royal palace to celebrate and com- memorate a specific event. Now, as observed by Claude Grignon, commensality is a manifestation of pre-existing social groups, whose differences and classifica- tions can be based on age, gender, and ethnic identity, or on voluntary associations of a political and/or religious nature.!° memorate a specific event. Now, as observed by Claude Grignon, commensality
From an anthropological perspective, we are in formed that a setting can offer many types of behavioural opportunities which may facilitate or hinder social be- haviour. The design of a space and its semi-fixed these social affordances relative to the occupants features can dramatically alter who are disposed to use it. In this respect, the terms sociopetal and sociofugal are environmental psychological concepts used to denote such designs.'’ The basic d ifference between them lies in the fact that these contrasting social settings facilitate (sociopetal) or inhibit (so- ciofugal) social interaction. Thus, a sociopetal room tends to bring people together and affords interaction by orienting occupants toward each other, whereas a soci- ofugal space may have boundary walls and seats which face away from each other and it tends to discourage meetings or conversations between individuals, thereby inhibiting interaction (Fig. 3).
From an anthropological perspective, we are in formed that a setting can offer many types of behavioural opportunities which may facilitate or hinder social be- haviour. The design of a space and its semi-fixed these social affordances relative to the occupants features can dramatically alter who are disposed to use it. In this respect, the terms sociopetal and sociofugal are environmental psychological concepts used to denote such designs.'’ The basic d ifference between them lies in the fact that these contrasting social settings facilitate (sociopetal) or inhibit (so- ciofugal) social interaction. Thus, a sociopetal room tends to bring people together and affords interaction by orienting occupants toward each other, whereas a soci- ofugal space may have boundary walls and seats which face away from each other and it tends to discourage meetings or conversations between individuals, thereby inhibiting interaction (Fig. 3).
Fig. 4: The sociopetal setting of the Assyrian royal banquet (Botta / Flandin, 1849: pl. 64; drawing by author). The proportion of the room length to width, the furniture arrangement, and the furniture density all constitute the primary variables which affect social interac- tion and reflect the operational definition of sociopetality and sociofugality. The physical setting of the Assyrian banquet imagery is unknown, but it is likely that room 2 and similar oblong rooms may have been the physical venue for such meetings.'* Tables could be set in line along this room, but they could have been also placed side by side. In either case, what we see in the banquet scenes is a setting closer to a sociopetal arrangement (Fig. 4), the aim being to facilitate and promote interaction between banqueters.
Fig. 4: The sociopetal setting of the Assyrian royal banquet (Botta / Flandin, 1849: pl. 64; drawing by author). The proportion of the room length to width, the furniture arrangement, and the furniture density all constitute the primary variables which affect social interac- tion and reflect the operational definition of sociopetality and sociofugality. The physical setting of the Assyrian banquet imagery is unknown, but it is likely that room 2 and similar oblong rooms may have been the physical venue for such meetings.'* Tables could be set in line along this room, but they could have been also placed side by side. In either case, what we see in the banquet scenes is a setting closer to a sociopetal arrangement (Fig. 4), the aim being to facilitate and promote interaction between banqueters.
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