Category Archives: new media

“Don’t put this on your blog.”

I’m delighted to contribute to Sara Gonzalez and Darren Modzelewski’s WAC-7 session: Activist Archaeology: Connecting the Academic with the Personal with the following paper:

“Don’t put this on your blog.” – An online, activist #archaeology

The current prominence of social media enables archaeologists to broadcast their personal and professional lives online. Updating a blog, using twitter, and commenting on message boards in a professional role can give the online public unprecedented access to archaeologists, bringing forth the best aspects of public intellectualism. Yet the practice is not without considerable detractions and many academic and professional archaeologists do not have the time, lack the technical knowledge, or are simply not trained to engage with the public in a legible manner. Adding a personal dimension to an online presence can be risky for a professional career, yet removing yourself from your discussions of archaeology is disingenuous, especially while writing for the public. Additionally, there are often prohibitions regarding public discussion of archaeological work imposed by the government, the excavation staff, or the indigenous stakeholders and community members involved with the site. Given the complications involved, a meaningful, political social media archaeological outreach schema can be difficult to attain. In this paper, I discuss my experiences “living out loud” and doing online archaeological outreach, including ten years of personal, political, archaeological blogging.

This is the original abstract for the paper–I had to cut it substantially to fit in the program. There were several other WAC sessions that I really wanted to participate in, but I will be organizing some other aspects of social media outreach during the conference so I had to limit my commitments to just this one session. Additionally, I really wanted to get to the SHA this year, but I couldn’t schedule them both and still work here in Qatar.

Finally, there is an initiative to present WAC online, using crowdfunding. Please direct all questions regarding this effort to the project creators, as listed on the webpage:

http://www.pozible.com/index.php/archive/index/12860/description/0/0

AAA 2013: A Digital Ecology of Sharing Archaeology

Sorry to post yet another abstract, but the American Anthropological Association has come to San Francisco and I’m presenting in a fantastic panel titled, Sharing Anthropology: Theorizing Anthropological Research in the Age of Social Media. All of the rest of the presenters are anthropologists (except for Ryan Anderson, who is a sneaky former archaeologist) so I’ll be one reppin’ the field.

Sadly my slides aren’t going to be quite as fantastic as the ones I previously posted, but what can you do? Here’s my abstract:

A Digital Ecology of Sharing Archaeology

Clean. Draw. Photograph. Level. Record. Dig. Sample. Sort Artifacts. Share.

Share?

Archaeologists are increasingly recognizing the benefits of an online presence. Field school blogs and project Facebook pages have become standard outreach fare. Yet this outreach is often an afterthought, relegated to undergraduate students and rarely cultivated as a legitimate expression of archaeological research. I argue that unless digital sharing moves beyond a rarely-updated Facebook page and is integrated into all aspects of archaeological practice it will always be considered an illegitimate by-product, remaining at the fringes of our profession, a poor shadow of the potential that digital outreach has for communicating with the public. This integration involves disrupting our professional customs to re-frame our research in terms of expressive, teachable moments. Contrary to the opinion that sharing at an intimate level would compromise our research, I argue that sharing can introduce reflexivity into the archaeological process and increase multivocality among project participants. Creating a digital ecology wherein archaeological research is made available “at the trowel’s edge” and rewarded as a legitimate undertaking is risky, unpredictable, and utterly necessary to usher archaeology into the digital age.

Archaeology and the Panopticon

Image

(a dissertation snip)

Working on archaeological projects is often like living in a fishbowl, and this was especially true at Çatalhöyük (Ashley 2004). When we were not being watched by the daily site visitors, there would be specialists or guards, and sometimes artists or anthropologists would wander through. This feeling of being watched was especially true when videographers or people recording sound would come on site without warning. It was disconcerting to look up and realize that you were being filmed—what was I saying? Chadwick and his colleagues “found the cameras at Çatalhöyük intrusive” (2003:103). The availability of inexpensive video tape allowed a more casual use of filming around the site, and the zoom lenses and directional microphones allowed videographers a false proximity to excavators who may or may not be aware that their actions and conversation were being captured and subsequently used without their knowledge or permission. As previously mentioned in Chapter Three, after conducting a video interview with Roddy Regan, one of the long-time archaeologists at Çatalhöyük, he gave me a direct look and said, “I’ve filmed hundreds of these things but I’ve never ever seen any of the results.”

Surveillance is deeply implicated in the lineage of new media. Lev Manovich traces the history of the computer screen from photography, through radar, and then the development of tracking software by the Semi-Automatic Ground Environment (SAGE) command center that controlled U.S. air defenses in the mid-1950s (2001). With nearly instantaneous online publication available for videos, there is the potential for embarrassing or inappropriate content to become widespread before the subject of the film can take control of the content. This behavior is relatively innocuous compared to the notorious, ubiquitous tracking of social media companies who use and sell data about your interests and your interactions with your friends (boyd 2011). Yet there are “discriminatory social implications of panopticonism” that reveal the differential social status of those under scrutiny and those who hold the cameras (Elmer 2003:232). While this has abated somewhat in light of the growing availability of video cameras, there still remains a certain wariness of archaeologists toward filmmakers.

Film is not the only means to surveil the members of excavations; mandatory site diaries or “blogs” can be framed as a reflexive measure yet without reciprocity throughout the team and an explicit assurance that they will not be used against the individuals who express their opinions, the blogs quickly become dry accounts of stratigraphy. To remedy feelings of surveillance while taking photographs and videos on site there should be a relationship of trust, that the filmmaker would not abuse the trust of the subject by videotaping while the subject was unaware of the person, nor would they publish any media without the permission of the subject. I discuss the issues of assent and Human Subjects Review in regard to video later this chapter, yet it is relevant to note that feelings of surveillance can be mitigated by the position of the filmmaker within the team. If the person is another archaeologist or a long-trusted site media expert, there is an intimacy and trust present in the media that is completely absent in media made by outsiders (see Chapter Three for discussion of this phenomenon in photography).

Ruth vs. the Intercutting Firepits

The QIAH has been conducting work at Freiha since 2009, revealing dense, complex occupation. This video is a time lapse of my good friend (and coworker) Ruth Hatfield excavating a series of intercutting firepits. Photo and Video Credit: Qatar Museums Authority – QMA.

We built a small structure over a fraction of the firepits to provide shade and then Ruth did her thing, digging all of the firepits under the shade in two hours. This time lapse demonstrates the principles of single context recording on a microscale–Ruth would dig and record the fills and cuts, all in stratigraphic sequence, showing which of the pits were dug last and working back in time. The last little bits were dug (and burned) first and truncated by later firepits. In some ways it is too bad that the camera was on a timer–you only see Ruth measuring or taking photos a couple of times. I’d like to do a time lapse that shows the entire recording process for each feature–but that might be just too tedious. Sadly I had to use iMovie to edit–my old Final Cut Pro license expired and the new FCP is appalling.

Incidentally, the font for the video is one of my favorites, Lavanderia, inspired by the writing in the windows of the San Francisco Mission:
Download Lavanderia

The music is licensed under Creative Commons and is available on Soundcloud:
Kitab el 3omr by Yussof El Marr

Please comment and let me know if you show the video in your classroom so that I can report back to the QIAH and the QMA and show them that making these things is time well spent!

Memory Palaces, Archaeological Sites, and Postex Planning

A plume of dust spread over the tanur I was drawing and my tape measure fell over and shuddered shut with a metallic clang. The wind had been steadily getting worse throughout the day, until it became an unrelenting blast furnace. I sighed and glanced up at the rest of the team. There were four of us on site, and everyone was neatly framed by the measuring tapes wound around grid pegs; five  meter boxes that we were neatly drawing at 1:20 scale on permatrace. I’ve railed against Americanist thinking-in-boxes for so long that it was a bit funny–but these were invisible boundary lines, and the layers were continued on the next piece of permatrace without the messy guessing of baulks.

Regular site work has come to a close; we cleaned up for aerial photography earlier in the week and are now drawing a large multicontext plan of the site before we cover it all up with backfill. I’ve done similar things before, but never a detailed plan over this large of an area–200 square meters. A few of the areas are pock-marked nightmares of postholes and clay-lined firepits–think circles within circles surrounded by circles. Other areas have bits of architecture or large layers of sandy-shelly accumulations.

I’ve worked over roughly the same area over the last five months, following the stratigraphy back and forth across the trench. Large areas can be difficult to excavate and I’d find myself chasing stratigraphic relationships in circles sometimes–not so hard to imagine when you know that the site depositional processes included sandstorms that would periodically blow thick layers of sand across site and we’d have to dig ourselves out time and time again.

While I was drawing I would remember the walls and the layers of sand that I’d taken off, but I’d also remember what the weather was like that day, who was on site with me, whether the general mood was good or bad. I’d remember if I was chatting to my workmen or my fellow archaeologists, or listening to a podcast or music (usually on windy days when I was using my headphones as wind muffles)–I have a very singular association of a midden dump and a low wall made of orangey-crumbly-crystally anhydrite slabs with a discussion of the concept of “the tipping point” courtesy of BBC’s Thinking Allowed. My thoughts wandered farther: what was the “tipping point” of midden accumulation–when was it accepted and acceptable to dump your garbage next to a wall? What started it? One camel bone? A piece of dog shit? Is there a broken window theory of midden dumping? I should look that up.

I recalled all of this as my pencil traced the outlines of layers yet to be removed. Archaeological sites are memory palaces in every sense of the term. We are re-remembering the past shapes and modes of dwelling and adding our own on top. As the site disappears in discreet episodes, paperwork and memories pile up in place of the stones and walls and sand.

I’d like for my future work to be in this arena, with location-based digital annotation, as most instances I’ve seen so far are completely separate from the lived experience of archaeology. Sadly, most avenues for this work immediately separates me from this very thing that I am most interested in–communicating the poetics of place. We’ll see if I can work something out.

Course Description: Materiality and Ethnographic Film

When it comes to UC Berkeley, these days I feel more like a politically-minded voyeur than grad student. I’ve been following the Occupy movements in both Oakland and Berkeley online, but I’m half a world away, working and writing my dissertation out in the desert.

Still, I’m going to be teaching a Reading and Composition course next summer, and I used part of my weekend to come up with a course description:

Materiality and Ethnographic Film

Ethnographic film has a long and ambivalent tradition within anthropology. The theory, technology, and methodology behind making ethnographic films has changed radically during the last century, but often this historic context has been ignored. In this course we will critically examine a wide range of ethnographic films through the lens of materiality. Materiality, or the study of the relationship between people and things, allows us to think about technology and social interactions in new and compelling ways. What were people wearing and using in the film? How was the film made and how does this effect the scenes that were filmed? What can these films tell us as artifacts in themselves? In our “archaeological” examination of ethnographic film, we will read the current interdisciplinary literature regarding materiality and excavate the context of these anthropological artifacts. This course satisfies the second half of the University’s Reading and Composition requirement.

The Reading and Composition requirement is a two-part writing skills class that all undergraduates have to take to graduate. The first class is the basics of writing and the second class, which is what this course description is for, is for intensive reading and writing on a particular topic. The only prerequisite is that the student has taken the first class–no Anthro or Media Studies is required to take the class.

Anyway, it is my first course description and I have no idea if it sounds of any interest at all to undergraduates. Any thoughts? Too boring, complex, or obscure?

Open Source, Software Piracy and Archaeology: a dissertation bit

Hello from sunny Qatar! Most of my spare words and thoughts have been going toward dissertating, so I thought I’d post some of my textual thrashing. (breaks in the text added so it won’t set off the tl;dr alarm)

“While some archaeologists are marginally aware of Creative Commons licensing, many archaeologists, myself included, exclusively use proprietary software. The software often is the industry standard and there are not necessarily good alternatives to use. In 2011, common proprietary software includes ArcGIS, the extremely popular global information system software suite, costs USD 1500 for a single-user license and Microsoft Access, an overwhelmingly popular database software costs USD 99 per license. More specialized software such as Autodesk costs USD 4000 for a single license. Increasingly interpretive projects and publications call for visualizations that require the detail and complexity that expensive proprietary software can provide.

Whether they are students or professionals, archaeologists generally do not have the money to purchase the sophisticated software with expensive licensing, so the copies are often illegitimate, and can stop working at any time. While it would be imprudent to identify specific individuals, archaeologists generally have thousands and sometimes tens of thousands of dollars of illegally downloaded software to perform everyday tasks and do not hesitate to publish results and visualizations gained from using this illegal software.  Whether or not the archaeologist has a philosophical commitment to Open Source and Creative Commons, it is in their interest to prevent the catastrophic data loss that is possible with proprietary formats and illegitimate software. To this end, LP Archaeology has developed their own database software called ARK, which is open source and available for archaeologists to download.

Sadly, much of the proprietary software that archaeologists use has not been replaced by similar open source software. Even in cases where there are free alternatives such as Open Office, archaeologists do not feel like they have the time to learn something different and worry that the results will suffer. Obviously a more formal study of software use among archaeologists would be required to make steps towards correcting the issues surrounding Open Source software, data formats, and preservation standards. Still, there are many places for archaeologists to fit into the Open Source and sharing spectrum, whether it involves Creative Commons licensing for photographs or developing specialized software — supporting these efforts would benefit our collections, our connection to our stakeholders and the longevity of the archive.”

Is it ethical to use pirated software for archaeological work? Why or why not?

Pseudoscience, Archaeology, and the Public

There’s a minor tussle going on over at Aardvarchaeology and Archaeological Haecceities over a public lecture at Linnaeus University in Sweden. The lecture is by Semir Osmanagich, a fringe “archaeologist” who claims to have found pyramids in Bosnia. I actually posted about this back in 2008 with photos of some of the nice geological sections that have been gouged into the hill:

http://middlesavagery.wordpress.com/2008/10/12/the-bosnian-pyramids/

When I saw the invite to the lecture “The Bosnian Valley of the Pyramids in Context,” I have to admit that I cringed–surely a university wouldn’t lend any credibility to this obvious hoax. In the comments over at Aardvarchaeology, Cornelius Holtorf explains, courtesy of Google Translate:

We invite him, not because we are his interpretations of scientific seriousness, but because we think we have to discuss his work and its effects. The Bosnian pyramids have affected not only tourism and the perception of cultural heritagein Bosnia, but is also how we look at the cultural heritage of the wider community. Can fictional heritage have the same (or greater) power than genuine cultural heritage? What is it that the tourists are really looking for when they visit cultural heritage sites and how they present archeology and heritage to the world media so that it has an impact? What is Osmanagich himself at his critics within the scientific archeology and the archaeologists who work in Bosnia?”

This should be an interesting talk–I’d very much like to see the lecture and the discussion afterwards. Osmanagich’s work is fascinating in this respect; how did he get so far with such an obvious hoax? Why is the idea of pyramids in Bosnia so compelling to so many people? I admire Dr. Holtorf’s work and would like to be as high-minded, inclusive and controversial as he is–I mean, why not discuss the implications of imaginary heritage when compared to actual cultural heritage? Sadly I think I would have a problem getting past Osmanagich’s wanton destruction of actual archaeological sites while bulldozering for imaginary architecture, and I hope someone at Linnaeus University takes him to task for that. A full rundown of the situation is available on wikipedia:

http://en.wikipedia.org/wiki/Bosnian_pyramids

Oddly enough, an interesting parallel popped up on the Catalhoyuk facebook page–a handful of posts by Artūras Jazavita, projecting a “proportional grid” on many of the photographs of artifacts and architecture:

His proposition is that the Catalhoyuk “proportional grid” is the same as Gobekli Tepe, a claim that oddly echos some of the recent academic literature about Gobekli. By posting his photos on my blog, am I giving him undue credence? Or am I putting it into context, much like the invited lecture above? Should the Catalhoyuk Facebook page owner delete the posts? I actually find the inscribed photographs strangely beautiful, though completely imaginary in their claims:

By offering high-quality digital images to the public, there is a risk of our photographs being co-opted by pseudoscientists who use them to advance these specious claims. We could restrict access to the photographs, or not invite controversial speakers to our universities, but perhaps this would rob us of the chance to counter the claims, or even for us to draw inspiration from their imaginations. As I understand the situation, Dr. Holtorf wants to know why Osmanagich’s work is so compelling, and perhaps then try to refocus this public interest back to actual cultural heritage. Artūras’ images made me want to take out my drawing tablet and sketch on some archaeological photographs. Can we co-opt the co-opters? Can we steal back the imaginations of the public from the psuedoscientists?

What do gifs want?

W.J.T. Mitchell’s classic book asks, What do pictures want? That is, what is it exactly that visuals do and how do they do it? Since this relatively early salvo into the thriving interdisciplinary field of visual studies there have been several qualitative and/or quantitative studies of photographs (see Sarah Pink, Gillian Rose, Kress and van Leeuwen, the list goes on) yet similar analyses on movies have remained elusive. Add music and dialogue and movement and your content analysis is suddenly many many thousands of pages long and ten years in the making.

Yet out of the flashy html mess of the early world wide web comes a digital object that severely erodes the boundary between still photographs and movies–the gif. (Here’s a nice little history of the gif) Even if you don’t remember the rotating skulls and bursting fireballs of the mid-1990s, the animated punctum of Jamie Beck’s photography probably caught your attention:

Beck calls these gifs cinemagraphs, and they resist classification as photographs or as movies, but play with elements of both. The constant loop of the movement in a gif is a fantastic synesthetic citation of digital music.

On the less “high-art” side of the spectrum is the admittedly low-brow joke gifs, a joke on a digital gum wrapper, the low rez and jagged movement unconsciously exuding a Lumiere brothers quality. My favorite being, of course, Animals Being Dicks.

They tell the shortest story, the briefest moment of time, soundlessly and then on loop. The first viewing is confusing, surprising, then we watch the clip with full knowledge on the second run through, anticipating the joke, and then a third, relishing the details we missed on the first or second pass.

I’ve been experimenting a little with the very short video form, not yet gifs, but similar:

There are a couple of programs that you can use to apply hipstamatic-like filters to your videos that are fun to play with, but you can also edit it on youtube using their tools. Obviously I haven’t fully explored the medium, but it is a good change for me from the hyper-focus on photography. The tiny film/gif pushes at the boundaries between video and photography, with occasionally delightful results.

Fundraising: The Sound of a Duck’s Feet

Early in my graduate career I received the advice to be like a duck–remain serene on the surface all the while paddling like hell underneath. Serenity has never been a strong point of mine, so I’ve come up with a compromise: swim like an otter–dive underwater, paddle like hell, then come crashing to the surface in a completely different place, lolling on your back like you don’t have a care in the world. I’m hoping that the relative quiet here on this blog feels like that to you, dear reader.

Swimming metaphors aside, I’ve been working pretty hard to get the Maeander Project off of the ground. Between project funding and organization hustle and my dissertation, things have been a little crazy. All that aside, I have an incredible debt to the many people who have donated at Kickstarter:

http://www.kickstarter.com/projects/colleenmorgan/the-maeander-project-a-digital-archaeological-land

We have 34 backers and are just shy of our half-way point at $2,257.00 out of $5,000.00.  We may be getting matching funds, so it’s really important that we make that $5,000 mark–we don’t get any money if we don’t raise it all.

I also want to thank the people who have generously re-tweeted our fundraising link, and who have posted on their own blogs, including:

The CRM Field Tech Newsletter 

Sorting out Science, in the #120 edition of Four Stone Hearth

Where in the Hell am I?

If I missed anyone, please let me know! Our fundraising drive ends on July 15th. If you can’t spare a dollar, spare a link?