The Beauty and Frustration of Single Moments, Frozen in Time

Our first entry in The Senses and Aesthetics of Archaeological Science comes from Lisa-Marie Shillito, at the University of Edinburgh. Responses follow from co-editors of the issue, Andrew Roddick and Colleen Morgan.

Lisa-Marie Shillito

It wasn’t until I became a micromorphologist that I understood how beautiful even the most unremarkable bit of earth can be, or that I truly understood context. I’ve previously described thin section micromorphology as ‘excavation under the microscope’ – observing deposits, describing their physical characteristics, determining the stratigraphic relationship between components, and reconstructing the processes by which they have formed (Shillito 2013). The sediments themselves become part of material culture. Produced as they are directly by human activity, understanding their mode of formation can aid in the interpretation of the activities that produced them.

The moment where you peer down the lens of the microscope and a picture comes into focus, you may find yourself glimpsing at that elusive ‘frozen moment in time’, a true single depositional event, preserved for prosperity between layers of glass. The moment where you can see the single layer of paint that was applied to a wall and subsequently covered and covered again; you can see the hand of the person that so carefully replastered and painted those walls over and over. The moment where you look at a sequence of floors and see a layer of fine dust less than 1mm thick that accumulated beneath a mat, the everyday dirt that escaped the fastidious sweeping of floors. Beyond buildings we may see the tell-tale undulations and orientations of particles within soft midden sediments that indicate where a person (or creature) once walked, perhaps taking a short cut to a neighbour over the way or making a rest stop to relieve themselves (we see evidence of that too…).

The closer we look, the more we see; the very process of examining archaeological deposits under the microscope gives a new understanding of the past. It is only by examining deposits at the microscale that you can gain a true understanding of ‘single context’ and how the tiny traces from individual activities combine to form cumulative palimpsests (to use the terminology of Bailey 2007) even in cases where we may think we have a ‘single’ context in the field. That moment you realise that ‘in situ’ is a relative concept, and materials we assume are intact have often undergone a series of post-depositional disturbances that have consequences for how they can be interpreted. At one magnification we may be looking at an event that occurred within a single moment; change magnifications and suddenly the temporal resolution shifts.

The implications of Schiffer’s ideas on formation processes are frustratingly obvious at the microscale. How can we really link that date with that artefact, when even in the same layer some small creature has come along and mixed things up a little? And how do we even know this disturbance has happened without using the microarchaeological eye? These processes occur more often than not, yet without microarchaeology, they may go unrecognised. It has been suggested by Smith (1992) that we cannot isolate and analyse instantaneous occurrences in archaeology and even if we could (as is sometimes the case with micromorphology) how do we decide what to analyse? The picture becomes so complicated I wonder if we can ever have a ‘true’ understanding of the archaeological record. Of course the answer is always, ‘it depends’. We can observe deposits at higher and higher resolutions, but the resolution that is necessary depends on specific research objectives.

Unlike specialisms such as zooarchaeology and lithic analysis where you can handle the bones and stones, pointing to features, however subtle, and explain your interpretations, my speciality lies in the unseen, the hidden worlds, the intangible. Explaining is not as straightforward. Explaining the importance of microarchaeological research and being transparent in how you arrived at an interpretation requires the visual. Under the microscope stratigraphy becomes differentiated, the relationships between components within a deposit become apparent and the mechanisms by which materials ended up in their positions can be directly observed in a way that is simply not possible at the macroscale.

Like single context archaeology, one of microarchaeology’s greatest contributions lies in sites with well-preserved stratigraphy and architectural features (Morgan 2010), and its true value can only come from collaboration between specialisms, and considering the sediment as part of the assemblage along with all the other materials we uncover. The sediments can speak their own stories about people in the past, but they also provide important constraints on the myriad of possible interpretations of other artefact and ecofact assemblages, going some way towards reducing their equifinality. It can be disheartening being the specialist whose greatest contribution is in pointing out the taphonomic problems with a favoured interpretation. Luckily, the beauty of the world under the microscope (mostly) makes up for its frustrations.

Bailey, G. 2007. Time perspectives, palimpsests and the archaeology of time. Journal of Anthropological Archaeology, vol 26, no. 2, pp. 198-223.

Colleen, M. 2010. Where is single context archaeology? [blog post] http://middlesavagery.wordpress.com/2010/02/23/where-is-single-context-archaeology/

Matthews, W. 1998. Report on sampling strategies, microstratigraphy and micromorphology of depositional sequences, and associated ethnoarchaeology at Çatalhöyük Çatalhöyük Archive Report. http://www.catalhoyuk.com/archive_reports/1998/ar98_06.html

Schiffer, M.B. 1987. Formation Processes of the Archaeological Record. University of New Mexico Press, Albuquerque

Shillito, L-M. 2013. Archaeology Under the Microscope. The Post Hole. http://www.theposthole.org/read/article/213

Smith, M.E. 1992. Braudel’s temporal rhythms and chronology theory in archaeology in A. Bernard Knapp (ed) Archaeology, Annales, and Ethnohistory. Cambridge University Press pp.23-34.

Tracing the Past under the Microscope

Andrew Roddick

Lisa Marie’s reflections highlight the analytical quandaries, the frustrations, but also the new interpretive and aesthetic worlds that open up through the microscopic gaze. This exploration of the unseen and intangible might be considered as an exploration of the trace, an archaeological element of an entirely different scale than the impressive houses and mounds at Çatalhöyük. Rosemary Joyce (2006: 15) contrasts the trace, which is subtle and contextual, with the monumental, which are those realms of material culture with external hierarchies of value meant to convey sets of meanings over time.  Joyce argues our job is to work at “rematerializ[ing] traces of practices in the past” (Joyce 2012: 121). Such rematerializing requires the specialized tools, learned techniques, and careful theoretical insight and reflection, all essential to our modern disciplinary practice.

As a ceramicist I have been thinking recently about the relationship between my craft of archaeology and those craft producers in the deeper past who produced the vessels I study, and the traces I follow. Just as potters transformed into clay into a vessel through learned technical practice, the pottery is transformed again as it enters my laboratory. I must first decide which traces of the past I’m interested in following, as this choice will determine the next step of the transformation; the sample must be cut either vertically, horizontally or tangentially, each of which will produce distinct traces.  Each step in following these traces also introduces new problems: Are these micro structural traces evidence of clay mixing, or simply bioturbation? These mundane objects introduce monumental issues at the microscale. But like Lisa Marie, these moments are disrupted by aesthetic appreciation, producing a kind of pause similar to that of a sun setting over an important monumental heritage site. Exhibits by archaeological scientists such as David Killick (http://uanews.org/story/art-and-science-converge-state-museum-exhibit) suggests there may be reason to invite a much larger public to peer down the microscope with us, demonstrating the beauty behind even behind the dirt beneath your mat, or the awe in an old clay pot.

Joyce R. A. 2006. The monumental and the trace: archaeological conservation and the materiality of the past. In Agnew N and Bridgland J (editor) Of the Past, for the Future: Integrating Archaeology and Conservation. Los Angeles: Getty Conservation Institute, 13-18.

Joyce R. A. 2012. Life With Things: Archaeology and Materiality. In Shankland D (ed.) Archaeology and Anthropology: Past, Present and Future. Proceedings of the British Association of Social Anthropologists. London: Berg Publishers, 119-132.

El tiempo lo aguanta todo by Leyla Cárdenas
El tiempo lo aguanta todo by Leyla Cárdenas

The Microarchaeological Eye

Colleen Morgan

What is a context/archaeological unit? How can archaeologists deal with stratigraphic deposits that are too fine to feel, that disappear under the trowel? I find myself alternately defending the craft of archaeological excavation and now, wondering if field archaeologists are actually equipped to excavate at all. Lisa-Marie Shillito’s microlayers: fingerprints, the stroke of a paintbrush, the dust under the mat, a breath, the barest whisper of a deposit, are terrifyingly ephemeral. How soon until we are able to excavate a painting stroke by stroke, unmaking masterpieces in reverse? Recent work in 3D printing fine art paintings by Tim Zaman may make this possible in the near future.

I spent a few days in January in the company of artists at the Van Eyck Institute as part of NEARCH, and after the lectures were done, we compared art practice and archaeology practice. How are we funded? Who is our audience? This process of making our professions intelligible was fascinating, but now I think we might have missed the main point. Archaeologists are un-doers, unravellers of the skein of time, picking out the stitches, ruining the weft. Perhaps that is why some of us refuse to re-knit the past back together again, it is too personal, we are too inexperienced and can only produce a vague, warped parody of the original.

Still, I think about the gestures involved in unpainting a painting. The tiny, precise swipe of the removal of a stipple. The broad slash, peeling off a jagged stroke. What would the Harris Matrix of a Mondrian look like? Squares and lines and red on black? Would the reverse-Pollock matrix be a tangled cloud? How does our arcane, chronologic, geography of a site describe and inscribe the parameters of human action?

One of the artists, Leyla Cárdenas at the Jan Van Eyck Academy specialized in a kind of microstratigraphic excavation. She peeled apart layers of paint, pried apart wallpaper to make an exploded stratigraphy of sites. She is interested in palimpsest, in sections sawed through art. I wonder if there is a microarchaeological movement in art?

THEN DIG: CRAFT

CRAFT copy

William Caraher is organizing a series on Archaeology & Craft. From his Call for Posts:

From my perspective there are three significant issues involving craft in archaeology (but I’m sure there are more!):

1. Craft in the Field. How and where do craft approaches exist in archaeological practice and how have recent trends in archaeological methodology limited the influence of traditional craft approaches to field practice (for better or for worse). In craft, the master craftsman has intellectual and bodily control over the entire productive process. How do we reconcile craft modes of archaeological production with those grounded in more industrial modes?

2. Craft in the Discipline. While the modes of knowledge production associated with craft have sometimes taken on a nostalgic glow in recent years, they can also carry forward a set of deeply conservative attitudes regarding access to the field (both literally and figuratively) and the authority to produce archaeological knowledge. In many cases, the authority within a system of craft derives from vaguely defined notions of “expertise” and “experience” which while important in archaeological work, tend to reinforce hierarchical social arrangement and privilege certain groups who have had traditional access to field work opportunities, material, and the previous generation of archaeological masters (e.g. old, white, men). In contrast, in professional archaeological knowledge is a product of rigorous adherence to modern, industrial, field practices (often mediated by technology) which could be acquired through the study of published work on methodology. This had the advantage of opening of the discipline to a wider group of practitioners by undermining field practices that reproduced traditional social hierarchies. Do appeals to archaeology as craft present real risks for archaeology as a discipline?

3. Craft and Technology. In recent years, it appears that archaeology’s increasing engagement with technology would bring about a revolution in field and publication practices. With more data collected in more sophisticated way and at a faster rate, technological changes has accelerated the slow process of field documentation. This has ensure that we have more information from our time in the field, and less time for the deliberate and contemplative aspects of the archaeologist craft. I realize that juxtaposing craft with practices mediate by technology is not entirely fair or accurate; at the same time, I can think of few technologies used regularly in archaeological work that explicitly reinforce the kind of haptic, embodied knowledge of traditional archaeological experience. Does archaeology used technology in such a way to marginalize opportunities for engagements grounded in craft?

For more information, read the rest of his post here:
http://mediterraneanworld.wordpress.com/2014/08/04/a-proposed-blog-series-archaeology-and-craft/

Contributions will be ongoing, to submit please contact billcaraher [at] gmail [dot] com

ZEITGEIST: Stuart Eve

Dr. Stuart Eve, Research Associate at University College London

This post is written as part of the Call for Papers over at ThenDig, looking at Zeitgeist in archaeological research and how to follow it, keep up with it, or create it. As will be clear from the previous posts on my blog, I am interested in using Mixed and Augmented Reality to aid in archaeological research. Augmented Reality (AR) is currently just over the ‘Peak of Inflated Expectations’ of the Gartner Hype Cycle meaning that it has been hailed previously as the next Big Thing, but has not quite lived up to the hype and so now needs a lot of work to make it a sustainable and useful technology – I have previously written about what this means in terms of archaeology here.

As I have just finished editing the final version of my PhD thesis on the use of AR in archaeology I decided to write this post to give some brief reflections on what it has been like trying to surf the Hype Cycle, whilst still producing 85,000 words of scholarly research on the topic.

Twitter is your enemy

Perhaps a controversial statement, but for one attempting to sit down and write intelligently about something that is currently the zeitgeist Twitter is not your friend. I don’t say this because of the many wasted hours of procrastination that goes into reading and obsessively checking a million and one tweets (although this is certainly true), I say it because when working on something at the bleeding edge of tech Twitter provides hundreds of teasing snippets of the amazing research that other people are doing. This isn’t just other researchers, but also companies and hackers who seem to have all the time (and money) in the world to make cool proof-of-concept videos. While initially amazing and a great source for early ideas and ways in which to give your research the ‘wow-factor’, it quickly becomes disheartening – seeing what other people are achieving whilst you are stuck still making sure your bibliography is formatted correctly. It provokes the need to be blogging/creating/making/hacking almost continually to keep up with everyone, and show that you are somehow simultaneously surfing the Hype Cycle. In my experience there is always going to be someone who has done it better so for anyone who wants to have a life outside of their research, my advice is keep your Twitter usage limited to finding new dubstep tracks and getting irate at the state of the world today.

Remember your roots

One of the key things to remember when using new tech is that no matter how deeply you immerse yourself in the tech world, when you emerge you need to convince other archaeologists that what you have been doing is useful. Archaeologists are notoriously wary of new technology and will be your biggest crtics – and this is A Good Thing. Every new digital method or gadget should only be developed to further archaeological method/theory and our knowledge of the past – not simply for wow-factor or as a result of a ride on a Hypegeist bandwagon. If it won’t work outside in the rain or you can’t convince a colleague of the usefulness of it without resorting to fancy videos or Prezis then don’t bother.

Every surfer loses a wave

Be prepared to fall off the wave, and watch other people riding. It is going to happen anyway and by being patient, sitting back and watching other people ride the wave you can learn just as much as you can by constantly doing. It is less tiring and often very much more rewarding. I have found that acknowledging you are always going to be behind the curve promotes a feeling of calm reflection that is vital for properly researching what you are doing, and gives you the knowledge to choose the right time to jump back on the crest.

Take your time

Whilst blogs are great for working through ideas, writing academically makes you consider every word and sentence and forces you to find other research that backs up or challenges your claims. As someone who researches new technology everyday, a digital detox is almost unheard of. However, taking the time to unplug everything, sit down and write the paper or thesis makes you critically examine everything you are saying or promoting with a clear unhindered perspective.

I am convinced this is the reason that baking is so zeitgiest at the moment. People are craving time away from the digital world to watch their sourdough grow and savouring the time it takes for a loaf to prove and bake puts you back in the real world. Sadly, however, they are tech-ifying sourdough too.

PEER RESPONSE: James Stuart Taylor, University of York

Initially I wondered whether I might be the correct person to offer peer comment on Stuart’s Zeitgeist post. I do not blog (no time!) and I rarely tweet, maintaining a belligerent cynicism about the usefulness of this particular social media (this may be softening as I increasingly find I’m not averse to live-tweeting at conferences – which for me has the joyously irreverent feel of passing notes in class). But I am not a technophobe and I do get it. As a field archaeologist I have always maintained a deep interest in applied computational technologies, amongst other things they help us in our work as tools for data acquisition, analysis and dissemination – and in this sense I’m very open to the ‘bleeding edge’. I found myself smiling wryly at Stuart’s commentary on the problems of balancing popular hype and academic engagement of bleeding edge technologies, and at the same time nodding in agreement, reflecting upon the deeper issue here.

My research focuses upon applied GIS as a tool for getting to grips with intra-site spatiotemporal data from archaeological excavations. Being a computing technology that had its genesis nearly 50 years ago, GIS is far from the bleeding edge. My tech is well over the crest of its hype wave in archaeology (clawing its way out of the trench of disillusionment I’d say!). Indeed GIS is now a well-established technology in archaeology. Yet I am researching a fundamental that has never been satisfactorily addressed in the development of GIS: the interconnection (or lack thereof) of space and time. Important for GIS you’d think – critical for archaeologists; but rarely considered academically. Surely people should have solved this problem a long time ago? – apparently not! Why? – because it’s complicated…

Complexities and the challenge of overcoming them is ultimately whatdrives research, but a fundamental from an academic perspective is often low priority from a technical perspective. As a discipline it is easy to lose focus upon more tricky issues as we ride the tide of technohype that Stuart is alluding to: lidar, laser scanning, 3D modeling, drones, hyperspectral cameras, ‘space archaeology’, are part of a seemingly endless list of technological applications which vie with augmented reality (and the now passé GIS) to take a turn on the crest of the hype-wave. And like the stereotypical surfer that the metaphor alludes to, these technologies tend to be trendy, fun, immediate, impressive, but ultimately can be shallow in their application – this is a shame.

Stuart’s final message is important – as a discipline we do need to take time to think academically about the technology we apply, to reflect upon the theory that drives these new methodologies (or which they recursively help generate), to look for meaningful and practical applications which will outlive the zeitgeist, so that they can stand the test of time and answer key research questions. Perhaps moving away from the endlessly cloned variants of that ‘pointless’ conference paper we’ve all seen a thousand times: “Look at the Size of my Point Cloud”.

PEER RESPONSE: Dr. Holly Wright, Archaeology Data Service, University of York

As someone who wrote a PhD a few years back on the Semantic Web and archaeology, I feel Eve’s pain in trying to create a nuanced, scholarly understanding of a technology that has now entered the ‘Trough of Disillusionment’. Only now do I feel we are starting to face the reality of what it’s going to take to make Semantic Web technologies useful for archaeologists, and just how much hard slog will be involved in realising it. Those riding the ‘Peak of Inflated Expectations’ headed for the hills long ago, giving those of us who are left a quieter place to work, and that’s no bad thing.

The deeper tension I feel Eve has hit upon here, is one I think is pervasive in the realm of digital archaeology, but seems to be rarely discussed: the fact that we sit between two very different disciplines and have to try to make sense of both. Archaeology is so interdisciplinary; I know we all feel the ‘Jack of all trades, master of none’ anxiety at one point or another. When manifest in its negative form, archaeologists don’t engage with the wider external discipline they are incorporating into their work, lest they be proven less than competent practitioners. For example, if we ask a statistician to look at our use of statistics in archaeology, we might find out we aren’t very good at statistics, so best not. For most of us however, we do our best to stay abreast of current good practice, and make sure we consult or collaborate with those who know the realm better than we do.

As Eve has pointed out, for archaeologists working with digital technology, the pace and chatter of the technology realm feels unrelenting, and it’s easy to get caught up in the hype that creates, to the detriment of the archaeological research we are trying to serve. I would argue we need to spend more time understanding and articulating the value of choosing to sit in between these disciplines, to both sides, and to each other. Understanding how to bridge two very disparate things is as much an area of deep expertise as knowledge of Roman fortification or Linked Data. Virtually all of my colleagues here at the ADS are both archaeologists and digital practitioners. I go to work every day with a group of people (all with very different backgrounds), for whom sitting between these two disciplines is our profession, but I think that is rare. We tend to be scattered and embedded in other groups, and I think that makes it even more difficult to resist hype and find useful and sustainable balance, so all the more reason to explore ways to come together and value this work. We can also share our favourite bread recipes.

CFPo: The Senses and Aesthetics of Archaeological Science

CFPO_Then_Dig

Archaeological science is a critical area of current archaeological practice. Analyses of ancient DNA from the teeth of long-dead ancestors, isotopes found in the remains of broken pottery, and the chemical signatures from flakes of obsidian are radically altering our understanding of the past. Unlike the pervasive fieldwork-based narrative of archaeology, these major discoveries take place far away from the trenches in the clean, well-lit laboratories of major academic institutions. Yet these discoveries are no less impactful, causing in some cases radical shifts in the kinds of stories we tell. Indeed the archaeological scientist is, much like the fieldworker, engaged in the craft of archaeology (sensu Shanks and McGuire 1996).

In this issue of Then Dig we explore encounters with the past in the context of archaeological science. From the abstract expressionist appreciation of ceramic thin sections, to the treasure hunt for phytoliths under a microscope, to the severe precautionary costumes of the Clean Room, we investigate the aesthetic, the multisensorial, and the profound in archaeological science.

Authors might reflect on how the centering of the micro-scale and the abstract are brought to bear, and how the interplay between scientist and materials present the unexpected. We also encourage contributors to consider the embodied moments of lab work and discuss those findings that produce visceral reactions and new understandings of the past.

Editors:

Dr. Andrew Roddick, McMaster University
Dr. Colleen Morgan, University of York

Submissions of no more than 750 words are due June 1st. Submissions in the form of images, music, video, and other multimedia are welcomed with full-throated enthusiasm. Your submission will be subjected to open peer review before being posted on Then Dig.

Please send your submissions to: colleen.morgan@york.ac.uk

ZEITGEIST: Dawid Kobialka

Star Trek into Archaeology: Captain James T. Kirk and Heritage from the Future

Dawid Kobialka, PhD Student, Adam Mickiewicz University

Definitely, it was not a good day for Theodor Adorno (2005: 25), otherwise great German philosopher, when he honestly admitted in Minima Moralia: ‘Every visit to the cinema leaves me, against all my vigilance, stupider and worse’. What Adorno despised was not only Hollywood movies, but generally, popular culture per se that was part of culture industry. However, it can be said that today there are many interesting things taking place in cinema that can inspire archaeologists. One of them concerns heritage; the subject that is very close to our hearts.

For many decades cultural heritage was seen through the lens of great monuments/buildings from the past (e.g. Stonehenge). Nonetheless, some new trends have been recently observed within the heritage sector. That is to say, more and more ordinary, day-to-day things are recognized as cultural heritage. This is one of the faces of spirit of our time (Zeitgeist): even an ordinary object has its own historical and cultural value (figure 1). By the same token, cultural heritage seems to be everything what we inherit from the past. Popular culture gives conceptual tools to slightly correct this point of view. To put it paradoxically, cultural heritage is also everything what we inherit from the future.

Figure 1 (1)
Figure 1: Heritage from the recent past: a bottle of vodka (author Dawid Kobiałka).

Star Trek is, without any doubt, one of the greatest cultural goods created in the US. It is a series of novels, comic books, TV series and movies, about the crew of the starship Enterprise and its different stories that happen during the exploration of the universe. The Captain of the starship is my beloved hero from childhood: Captain James T. Kirk. And he might be the key to understanding archaeological Zeitgeist, so to speak.

In Riverside, Iowa is a small plaque (figure 2). It commemorates the fact that captain Kirk will be born in this town on March 22, 2228. The plaque is very ambiguous. It does not concern with some true event from the past as it is usually in the case of such monuments. On the contrary, it says about a fictional, future event. The usual logic is turned around here. The plague might embody some trends of crucial significance for today’s archaeology. In other words, instead of focusing on hard data and heritage from the past, archaeologists need to focus also on the role of fiction (popular culture) and heritage from the future for contemporary society.

Figure 2 (1)
Figure 2: Heritage from the future(1).

The Captain Kirk plaque is not the only example that indicates the increasing role of popular culture heritage from the future. Another one that was also extremely popular on the Internet is Rä di Martimo’s pictures took in the desert of Tunisia and Morocco (e.g Gorence 2013). What made the pictures so intriguing is the fact that they present buildings and other facilities from George Lucas’ Star Wars. One is seeing in them ‘real’, ‘material’ buildings from the planet Tatooine. It is as if reality and fiction became one. The point to be made here is very simple: these buildings, although belonging to a different universe (as it is known to every devotee of Star Wars, Taooine is located in Outer Rim Territories), are our common heritage. But this heritage comes from the future….

Archaeology is a social and cultural practice. In accordance with that, to be important for contemporary society, archaeology needs to address topics of general interest. One way of doing it goes, in my opinion, through the links between popular culture and heritage (from the future). The heritage of popular culture is the one that we as archaeologists should more carefully reflect upon. Who knows?: perhaps contemporary archaeologies and the heritage sector should be more about the future than the past (see also Holtorf & Högberg 2013).

Notes:

[1] See http://en.wikipedia.org/wiki/File:Future_Birthplace_of_Captain_James_T_Kirk.jpg [accessed October 1, 2013].

Bibliography:

Adorno, T. 2005. Minima Moralia: Reflections on a Damaged Life, trans. by E. F. N. Jephcott. London & New York, Verso.

Gorence, A. 2013. Remnants of abandoned Star Wars Sets in Morocco and Tunisia reminiscent of ancient ruins. Feature shoot, February 1, 2013. Available at: http://www.featureshoot.com/2013/02/remnants-of-abandoned-star-wars-sets-in-morocco-and-tunisia-reminiscent-of-ancient-ruins/ [accessed October 1, 2013].

Holtorf, C. &  Högberg, A. 2013. Heritage futures and the future of heritage. In: S. Bergerbrant & S. Sabatini (eds.), Counterpoint: Essays in Archaeology and Heritage Studies in Honour of Professor Kritisian Kristiansen, BAR International Series 2508. Archaeopress: Oxford, pp. 739-46.

PEER RESPONSE:

John Roby, Assistant Professor at Indiana University of Pennsylvania

As a lifelong science fiction fan, I was fascinated to read Dawid Kobiałka’s thoughts on a sort of “future heritage” pinned to the delightfully anachronistic, extant material culture of Star Trek and Star Wars. I would like to briefly raise one concern and one point of expansion.

Leaving aside the vision of Theodor Adorno sitting in on the latest Star Trek film, the Frankfurt School’s criticism of the culture industry runs deeper than mere dislike. To Adorno and others, the troubling thing about a cultural production like a film was its ability to create a false sense of choice and freedom in the viewer, while reproducing the structural conditions within which that viewer was enmeshed (Horkheimer and Adorno 1982). A material object, of course, has a use-value, while a cultural production has value only in the way it instills prestige and knowledge in its consumer. The culture industry manipulates those created needs, thus appearing to provide what consumers want, while actually training them to want more things that are of less value. Just as “the diner must be satisfied with the menu,” (Horkheimer and Adorno 1982: 139), the viewer must be satisfied with the film. So goes the criticism.

Yet I have trouble accepting that as the end of the discussion. To me, the best science fiction articulates a hopeful vision of human possibility. This is particularly true for Star Trek, with its celebration of unity in diversity and its future history in which we have moved beyond superstition and want and war. To that end, I find the memorialization of Captain Kirk’s future birthplace to be, as Kobiałka notes, quite compelling. I agree that the concept of heritage can, and perhaps should be, extended to a vision of the future, and I suggest that memory offers a way out of the “hard data” bind to which Kobiałka makes reference.

The immateriality of fiction appears to be a hurdle to using a certain vision of the future to organize praxis in the present. But this hurdle is itself illusory: Archaeology is in the business of presencing the absent, “enfranchising it as an object of social discourse” (Buchli and Lucas 2001: 174). Fiction’s locations are by definition absent, but monumental buildings and memorials can concretize that absence, serving as foci for remembrance. Moreover, as Joan W. Scott (2001) makes clear, history (and, I would add, heritage work) constructs its object, it does not discover it. In light of this, there is no particular reason an object or locus inspired by a work of fiction cannot serve as a site of cultural memory (Connerton 1989, 2009).

My concern is with what memories and memorial practices would be foregrounded at such a site. Kobiałka suggests greater attention to the heritage of popular culture. The term itself is too vague to suit me; I tend to lean toward the Frankfurt School’s critique of popular culture and the capitalism-serving consumption that it engenders. Star Trek, though, is different. A monument that serves to recall the values it lauds and suggests concrete practices to achieve them is a small step to making that future less fictional and more possible.

References:

Buchli, Victor, and Gavin Lucas. 2001. “Presencing Absence.” In Archaeologies of the Contemporary Past, edited by Victor Buchli and Gavin Lucas, 171-174. London: Routledge.

Connerton, Paul. 1989. How Societies Remember. Cambridge: Cambridge University Press.

Connerton, Paul. 2009. How Modernity Forgets. Cambridge: Cambridge University Press.

Horkheimer, Max, and Theodor W. Adorno. 1982. Dialectic of Enlightenment. New York: Continuum.

Scott, Joan W. 2001. “After History?” In Schools of Thought: Twenty-Five Years of Interpretive Social Science, edited by Joan W. Scott and Debra Keates, 85-103.

Princeton: Princeton University Press.

Free access to Maney Archaeology and Heritage Journals for a month

Terrae Incognitae coverManey Publishing are offering a free 30 day trial of journals in their Archaeology and Heritage collection. There’s quite a few journals in the collection. The one the caught my eye was Terrae Incognitae. If you’ve not heard of this journal, it’s a journal of the history of exploration from ancient to modern times. Even if you’re a hardline single-subject archaeologist there’s still relevant papers to read. In the most recent issue there’s a paper “The Palace Façade and the Urban Form in the Documenting of Hispanic America” which proposes a relationship between the architecture of Spanish colonisers and the monarchical urban policies of the 16th century. This sounds like something archaeological testable to me.

Another journal in the collection is Public Archaeology. I see that “From Respect to Reburial: Negotiating Pagan Interest in Prehistoric Human Remains in Britain, Through the Avebury Consultation” came out this year, which I really ought to read. Other recent papers have looked at the Philippines, Cambodia and “Archaeology as a Tool to Illuminate and Support Community Struggles in the Black Metropolis of the Twentieth and Twenty-first Centuries” based in the south-side of Chicago, which I’d never heard of before.

You can visit the Maney website to see the full list of journals. There’s a mixed bunch, but it looks particularly helpful for post-med and industrial archaeologists and researchers interested in the Levant. Maney have helpfully tweeted the offer is open to everyone, so it’s well worth checking out.

Laboratory at the Museum of Natural History, University of Oregon, 1966

Laboratory at the Museum of Natural History (now the Museum of Natural and Cultural History), University of Oregon, Eugene, Oregon (USA) 1966
Laboratory at the Museum of Natural History, University of Oregon, 1966

I’ve been looking to use one of John Atherton’s photos for a while. He has a lot of photos of archaeologists at work in both the USA and Africa. I chose this one as it gives me a sense of peering into the past.

I’m not entirely sure what we have this week, but I can say we have something on Korean archaeology tomorrow from Martin Bale and Mark Byington tomorrow. It also has an excellent photo of archaeologists at work. If all goes well I’ll also have a reliable broadband connection from tomorrow, which could revolutionise how I use the internet – like I’ll be able to use the internet and chase up emails.

Photo: Laboratory at the Museum of Natural History (now the Museum of Natural and Cultural History), University of Oregon, Eugene, Oregon (USA) 1966 by John Atherton. Licenced under a Creative Commons BY-SA licence.

Teaching Preschoolers about Anthropology

After reading a few of Matt Thompson‘s “Illustrated Man” posts over at Savage Minds, I decided to search for children’s books that go beyond the ubiquitous kiddie-adventure-with-moralistic-underpinnings storylines.  Now, those books aren’t all bad.  My 2-year-old daughter and I both really like the Adventures of Patrick Brown book series, which is lushly illustrated in an almost graphic novel style and which employs a good level of vocabulary that doesn’t talk down to kids whose language skills are increasing at an astounding pace.  But my ultimate goal was to find books related to my life-long interests – archaeology and biological anthropology – that I could share with my daughter.  More importantly, I wanted to find books that won’t make me pull my hair out when I inevitably have to read them over and over and over again.

I discovered, though, that it’s surprisingly difficult to find books geared towards the preschooler set that aren’t board books with too little dialogue (half of the words in Fifteen Animals are “Bob”) or lightweight stories about everyday activities that reinforce old gender norms (I’m looking at you, Berenstain Bears).  Most of the books that interested me and that tried to communicate a small part of what I do for a living seemed to be written for kids in late elementary school.  Fortunately, I managed to stumble upon a couple books that captivate the attention of a squirmy toddler and her academically-inclined mother.

Archaeology

Archaeologists Dig for CluesAmazon.com lists over 1,100 results for children’s books about archaeology.  It’s pretty daunting, and I ended up getting some duds.  The best one by far – which I highly recommend – is Archaeologists Dig for Clues by Kate Duke.  The format has some graphic novel qualities to it, with little dialogue bubbles in addition to the text and side-bar explanations, which cover everything from water screening to ceramic typology.  The characters are quite diverse in their gender, age, and race.  Although the story – a day in the life of a field archaeologist – condenses basically an entire field and lab season into one day, the portrayal of the field archaeologist, the explanations about the tasks she undertakes, and the demonstration of what specialists do at the lab are all quite good.

Biological Anthropology

The WatcherA recent New York Times Sunday book review profiled two works about the life of Jane Goodall:  The Watcher and Me, Jane.  One of my friends sent a copy of each for my daughter’s birthday.  Jeanette Winter’s The Watcher is definitely the better book – with more words and better vocabulary, the story introduces children to some basic concepts in primatology and anthropology. Winter’s illustrations can be used to get children involved in watching too: Jane doesn’t immediately see the chimps, who are hiding in the trees, and it’s fun to ask my daughter to point them out and count them.  This book also deals with events like Goodall’s bout of malaria and the progressive endangerment of chimpanzees because of poaching and deforestation, all while remaining approachable by kids. One of the things I dislike about Patrick McDonnell’s Me, Jane (other than the title, which irrationally annoys me) is that he jumps from little Jane dreaming about chimps to Goodall in the field, skipping the trouble, hardships, and work she had to put in to get from interested kid to adult researcher.  Anthropology isn’t as simple as digging a hole in your backyard or looking at an ape through a zoo window for a few minutes, and The Watcher manages to get this point across quite well. It’s a surprisingly thorough (for a kids’ book) story of Jane Goodall’s life written in a way that challenges younger readers but at the same time doesn’t talk down to them.  I definitely recommend The Watcher, but I’d give Me, Jane a pass.

Another good place to look for anthropology books may be your local science or art museum.  My colleagues at the Soprintendenza Speciale per i Beni Archeologici di Roma, for example, created an illustrated pamphlet for children that explains what bioarchaeologists do (and helped me learn the Italian version of various bioarchaeological terms).  The cartoonish dead Romans are adorable, even though they’re not a great match for the higher-level text that discusses such heady topics as palaeopathology.  Unfortunately, you can’t all rush out and buy this, but I suspect there are similar English-language pamphlets floating around somewhere.  If not, well, I guess my next project will be writing a children’s book on bioarchaeology!  (Anyone want to illustrate it?)


Kristina Killgrove is a bioarchaeologist who blogs regularly at Powered by Osteons and tweets as @BoneGirlPhD.

Digging in the Dark

Archaeologists digging in the dark
Digging in the Dark by Wessex Archaeology

It was the Day of Archaeology last Friday. Unfortunately I didn’t get a post in, despite days of archaeology clearly including night sometimes as this photo shows. I had to check I hadn’t already chosen this as a photo of the week, because it’s one I keep coming back to. Usually the aim of a photo is detail, but here the silhouette of the diggers gives it much more drama.

It also reminds me of the dig at Tanis conducted by Prof. Henry Jones Jr. shortly before the Second World War.

Photo: Digging in the Dark by Wessex Archaeology. Licenced under a Creative Commons BY-NC-SA licence.

Shovels: Regional Diversity in One of Our Most Indispensible Tools

“…the shovel is the trademark of archeology and perhaps its most indispensible tool.”– Heizer A Guide to Archaeological Methods (1949:32)

“Lucille, God gave me a gift. I shovel well. I shovel very well.”– The Shoveller, Mystery Men (1999)

When I was given the brief to write about archeological tools for ThenDig, my mind reeled.  Like Ms. Morgan, whose post about boots inspired this issue, I have been a collector of regional tools and methods for as long as I have been a field archeologist (going on 25 years now).

Everyone has trowel stories (including stories of lost trowels recovered like the Silas Hurry post about archeological tools recovered in St. Mary’s City).  I, however, have always been interested in the “coarser grained” archeology tools—shovels and their kin. One of my earliest mentors in the field of archeology kept his flat shovel razor sharp and could use it to make floors with a skill and cleanness that most of us only muster with a good trowel.  In his hands, the shovel was just as good as a trowel.  I will never be that good…but it did spark my interest and respect for the shovel.

At first blush this may seem like an innocuous topic.  How different can shovels be?  I do not claim a wide geographic experience—I have worked mostly in the southeastern US—but in the 13 different states I have worked, I have encountered a wide variety of shovel tools and techniques.  Each of these is an adaptation to the local conditions, or products of the genealogy of intellectual traditions.

Standard No. 2 excavating shovels recommended By Hiezer
Standard No. 2 excavating shovels recommended By Heizer (1949).

My old (1949) edition of Heizer’s A Guide to Archaeological Methods states that a “long-handled, round-point standard No. 2 excavating shovels are recommended. Spades, scoops, and square-point shovels are virtually useless owing to their inability to penetrate any but the softest dirt.” These shovels were clearly important and as recently as 2006 archeologists were combing the country (or at least advertising in some newspapers) for these shovels… The Nebraska State Historical Society was willing to pay up to $50 for True Temper No. 2 light-weight shovels in good condition.

Over the years, apparently, the archeological stance on flat shovels has softened a bit.  The seventh edition of Field Methods in Archeology still uses Heizer’s introduction (and preference for snub-nosed round shovels), but it also reports that “square-point shovels are useful in excavating sandy deposits and many archeologists find them valuable for cleaning excavation unit floors in the search for post molds, rodent burrows, and other features” (Hester et al. 1997:70).

Despite Heizer’s recommendation, my personal motto for archeology and the use of shovels is simple—“round shovels for round holes, square shovels for square holes.”  By this I mean that I prefer to use a sharpened spade to dig the small (30 to 40 cm in diameter), round shovel test holes that southeastern archeologists use to locate sites on survey, and a VERY sharp broad, flat shovel to dig 1×1 or 2×2 meter test units that are common in testing and full excavation projects.  This maxim of mine has been fed by my original training in the Mid-South where we commonly dug in nice soft loams and loess soils.  Things changed for me as I began to work in other settings.

In the Mississippi Valley the fine clays can be very difficult to deal with—when they are dry they are bricks and when they are wet they are a sticky mess.  Two different shovel styles (springing from intellectual traditions) have evolved to deal with these soils (why do I suddenly sound like an environmental determinist?). First, there is the spade that has a “half-moon” cut out of the blade—these are the self-manufactured versions of Heizer’s shovels trimming the point off and filing the edge with a bench grinder.  To the best of my limited knowledge this style comes out of the American Bottom region (or at least remains in style in that area).  The “half-moon” cut out allows for a lot of strength in cutting through clay (and even burned daub walls).  They do tend to make little ridges in the units floors, but if you were trained in this tradition you have probably become adept at minimizing this effect.

Rice shovel
The sharpened "rice shovel": weapon of choice for the Mississippi Delta.

The second adaptive strategy in the Mississippi Valley is the use of a sharpened “rice shovel.”  For those of you who have not encountered them, a rice shovel is a hybrid spade—with a snub nose and three holes in the blade.  The shovel is somewhat flatter than a typical spade (more like a flat shovel) and the snub nose eliminates the pointy bit the way the cutting the “half moon” out of a pointed spade does.  “Why the holes?”, you ask.  The wet, sticky clays of the Mississippi River valley can often stick to your shovel blade with such suction that it can be very difficult to dislodge your soil matrix once you have shoveled it up.  The holes break this suction insuring that you will be able to toss your soil into a bucket or screen.

But in the mid 1990s I left the lowlands and worked for a decade in the Ozark Mountains.  This, again, radically changed my thinking about excavation.  In the lowlands of the southeast I had been trained to keep floors and walls level and pretty…and my trowels and shovels sharp enough to cut string.  In the rocky, uplands of the Ozarks all of this was nigh impossible.  Most of the sites I worked on were 50%-70% gravel and as such it became very difficult (and pointless) to keep and edge on a trowel as you were literally mining the rocks out of a roughly 10 cm level in every unit.  This environment made my favorite weapon, a sharp, large, flat-bladed shovel useless.  I had three adaptive strategies for the Ozarks.

1945 Ames Entrenching Tool
1945 Ames Entrenching Tool

1)      Entrenching Tool (or E-Tool):  I am told that entrenching tools go back to at least the Roman period, but the ones I use have their roots in the folding spades of World War I and II—In fact, I literally prefer WWII entrenching tools—I have owned three different 1945 shovels manufactured by Ames for the US Army (this has lead more than one student to declare that my shovel “belongs in a museum”).  I like to fold the shovel blade 90 degrees and use the shovel like an excavation hoe (or a large trowel).  It works really well in the gravelly soils of the Ozarks, but I actually picked this tool usage up from a colleague of mine who worked in Texas and the southwestern US…so I am not sure of the origin of its archeological use…but it is not indigenous to the Ozarks.

2)      Geologic hammer:  This tool was actually great in the Ozarks for cleaning the rocks out of the corners of your excavation units and for better defining the wall/floor transition.  Just like you would run your trowel along the base of the wall to create a right angle transition, you could use the pick end of the geological hammer to carve away the rocks to approximate a right angle…sigh.

3)      Small-scale gardening spade AKA “The Lady Shovel”:  Back to my maxim…using standard-size round spades to dig shovel tests was also difficult in the Ozarks as you were pounding through gravel.  I found that a small-scale gardening spade was the best for digging shovel tests as it allowed you to “go around” rocks in the process of carving out the round hole.  Unfortunately, many people (and some industry marketing) has given this tool the blatantly sexist moniker “the lady shovel” due to its frequent use in gardening (which apparently has become a gendered hobby).  A word of caution, however, you cannot use the cheap, welded gardening spades you might find in discount stores for shovel testing in the Ozarks…you have to have a “real” thick gauged steel shovel…just scaled down from the standard pointed spade.  The Ozark rocks would tear up one of the flimsy variety within a single shovel test.

In 2006 I once again fund myself changing geographical regions as I took up my new post in the rolling gulf coastal plains of southwest Arkansas—it’s called the Trans-Mississippi South by some researchers.  I’m now working in the beautiful sandy soils at Historic Washington State Park near Hope, Arkansas.  It’s beautiful—the ease of digging and screening sand, with just enough structure to hold it together and not collapse the way coastal sand does. There is dust on my entrenching tool these days…I’m back where I started with a sharp, flat, broad bladed shovel.