Research in digital archaeology, heritage, and marginalia
Dr. Colleen Morgan (ORCID 0000-0001-6907-5535) is the Lecturer in Digital Archaeology and Heritage in the Department of Archaeology at the University of York. She conducts research on digital media and archaeology, with a special focus on embodiment, avatars, genetics and bioarchaeology. She is interested in building archaeological narratives with emerging technology, including photography, video, mobile and locative devices. Through archaeological making she explores past lifeways and our current understanding of heritage, especially regarding issues of authority, authenticity, and identity.
In 2008 I wrote a fairly shiny, wide-eyed treatment of the use of Facebook in the classroom, arguing that it provided an opportunity to discuss online privacy and a unique way to engage with archaeology. I gave the option for students to create a fake profile for a 19th century resident Zeta Psi fraternity house, a subject of research for one of the classes, when one could still do such a thing. To wit:
A critical pedagogical engagement in archaeology offers the potential to serve as an emancipatory practice, in that dominant political and historical narratives are challenged with the material record, providing a way for students to examine these narratives within their specific historical context and provide their own interpretations (Conkey and Tringham 1996; Hamilakis 2004).
Social media was a great way to get students to translate taught material and research into a sphere that they are more familiar with and use it to query the historical and archaeological record. Great, fabulous…I wrote the short piece for a teaching prize, which I didn’t get. Oh well, add it to my failure CV ala Shawn Graham.
Fast-forward a decade and I receive a notification specifically calling for examples of innovative use of social media within the classroom. Always too early. Oh well. Anyway, I’ve used social media ever since to disseminate archaeological information in various ways, to an almost tedious extent. This autumn I taught a course called Communicating Archaeology wherein the students used blogs as a platform to host archaeological media that they created themselves. I don’t consider this to be radical in any way, just a convenient way to cohesively host content.
….except. Except that I’ve asked them to use WordPress. I quite like WordPress, perhaps obviously, but my (and my students’) content creation provides their bottom line. I can justify this to a certain extent with my own work in that it is a bit like (wince) academic publishing. Would I feel the same if WordPress was funded by adverts and posts actively helping to undermine elections, ala Facebook? Do I know that they are not?
During my last lecture of Communicating Archaeology I emphasized to the students that on social media, the product is YOU. If you choose to engage with social media you may as well try to use it in a way that will benefit you, as those companies are profiting from your participation. For now the pedagogical balance may fall on a structured, critical engagement with social media, but any use in the classroom needs to fully consider the monetization of content and personal information provided.
An archaeology PhD is an archaeology PhD, right? Well…kinda. Sorta. Actually, there are tremendous differences between the USA and the UK and when you add differences between institutional practices within countries there are a pretty vast array of experiences available. Is one better than the other? It depends on what you expect your CV to look like at the end of your program and what your goals are at the end of your PhD.
Brief translation note: USA calls it graduate school, UK = postgraduate study. In the USA you write your Master’s Thesis and your PhD dissertation, in the UK you write a Master’s dissertation and a PhD thesis. Lecturers in the UK are Assistant Professors in the USA. Confused yet? I’m going to mostly use the USA nomenclature for this post.
Again, I will emphasize that a lot of this is my own personal experience, not the result of a proper longitudinal study so your mileage may vary, objects may be closer than they appear in the mirror, take with a grain of salt, etc.
At York if you apply for a named, funded PhD (usually associated with an existing research project and advertised on Jobs.ac.uk), there is a competitive application process with interviews, etc. If you are applying as an unfunded PhD, you must approach a faculty member with a research project and then you work together to see if it is a feasible PhD project and you either stump up the cash or try to get funding. I’m not going to get into funding too much as it is a changing landscape (particularly with *rexit and *rump) but here’s some information on funding for Master’s and PhDs at York.
The Master’s Degree
My USA Master’s degree was also integrated into my PhD–it was considered the first year of study in the program which is common at USA research institutions. This mildly annoyed some other graduate students who had gone elsewhere to receive their Master’s degrees first. My MA consisted of two semesters (terms) of coursework followed up by a written and oral examination, which is different than non-integrated USA Master’s degrees (called terminal degrees), which can be either 1 or 2 years. All students in the cohort took History and Theory of Archaeology and Archaeological Research Strategies, both team taught by two of the archaeology faculty. No dissertation, but collectively the papers I wrote easily hit the word count required for a UK dissertation (15,000 – 20,000 words).
My PhD process was, even amongst my own cohort, singular. So I’ll try to move into generalizations as much as possible, but given that there is so much variation, you’d best do your own investigations.
USA PhDs take a long time. At Berkeley, the average is 8.1 years. When I tell my UK peers that it took me 7 years to finish, they are usually aghast. I am obviously a slacker or inept (which is probably true) because a full-time UK PhD takes, in theory, 3 years (6 years part-time).
At Berkeley there is a progression process that involves a first year Master’s, writing your field statements (three long literature reviews), a second year review (I don’t even remember this), then writing your dissertation prospectus. You take coursework for at least three years, and there is a public archaeology outreach requirement at Berkeley as well. And you have to prove proficient at a second language. And a pedagogy class. Degrees also usually involve a couple of seasons of fieldwork and sometimes artefact processing so…it can take a while.
At the end of your third year you take your oral qualifying exams. The oral exams are things of legend–I realized that my examiners had 150 years of collective experience. It was pretty awesome, actually–four extremely smart women discussed my research for three hours then we all ate blackberry cobbler together. After advancing to candidacy comes…(wavy hands)…the dissertation writing years. The final defense is a public lecture.
At York (and from what I have heard at other UK institutions) we have thesis advisory panels that consist of your supervisor and at least one additional member of staff. These panels are twice a year and at your second and fourth meeting the panel decides if you have done enough to progress with your degree. After the first meeting, you must submit material at each of these panels. The PhD students also have training workshops to prepare them for both academic and non-academic jobs.
A few other quirks:
UK institutions are quite happy to have undergraduate students who continue on to their Master’s, then PhD, and sometimes even lecturing in the same institution. In the USA it is rare that you will be accepted to the same institution where you completed your undergraduate degree.
In the USA you can and are sometimes expected to take coursework in other departments. I had some outstanding courses from the Berkeley Centre for New Media, including The Social Life of New Media taught by the delightful Nancy Van House.
Some USA PhDs are required to have “outside advisors” who are either from a different department or another institution. Nancy Van House (from the School of Information) was mine.
UK PhDs are generally expected to get 1-2 postdocs before landing a lectureship, whereas USA PhDs can get hired straight into a position. But sometimes they have to adjunct for a while first.
Though it took (relatively) aaaages, the coursework made the USA PhD magical. The Senses of Place course was team-taught by Rosemary Joyce & Ruth Tringham whose combined brilliance cannot be understated. The aforementioned Social Life of New Media. Lithic Technology by the legendary Steve Shackley who assigned absolute (obsidian-filled) mountains of reading. Even the undergraduate courses at Berkeley were incredible–I sat in on Laura Nader’s Controlling Processes, a class that was completely worthy of Berkeley’s fiery, radical reputation and is obviously resonant today.
Basically if you can get a fully-funded PhD position at an R1 institution in the USA (and have a decade to spare and can figure out the taxes), go for it. But if you want a very directed course, no GREs or up-front fees, that takes a fraction of the time, a UK Master’s or PhD may be for you.
As I become more familiar with the UK-style Archaeology undergraduate degree, I can’t help but compare it to my USA undergraduate education. Obviously n=1 is a small sample size and this is all painted in very broad strokes, but I thought it might be instructive for others, as I had very little idea of the differences before I changed continents.
I attended the University of Texas, Austin, which is a very large, public university. By very large I mean over 50,000 students and over 24,000 staff. I received two undergraduate BA degrees, in Anthropology and Asian Studies with a minor in Japanese language–I wanted to study the Jomon > Yayoi transition in Japan, but…strayed. That’s beside the point! I received a fairly standard USA liberal arts degree, which means that I studied anthropology and archaeology, sure, but most of my classes were in other subjects such as Astronomy, English, and, for example, a fantastic class on Korean New Wave cinema. Out of the 40 (!!) different courses I took, I had 4 archaeology-specific classes, not including field school and other volunteering gigs. I also taught at the University of California, Berkeley which is a similar size to UT, so some of my experience stems from that equally large, public USA university.
I enjoyed my USA undergraduate degree(s), and there are strong arguments to be had in anthropologically-based archaeological learning, but I’m also very impressed by the breadth and depth of the learning of UK-based archaeology undergraduate students. When I teach 3rd year UK undergraduates they have the same level of understanding as Master’s students in the USA and their reading (in my special topic course at least) is entirely peer-reviewed journal articles. I also made the entire second-year cohort read Ingold, but I wouldn’t necessary recommend it. In theory, USA liberal arts degrees seem to prepare students more broadly for general enrichment (and employment, I suppose) but the UK Archaeology undergraduates certainly seem to do just fine in subjects beyond archaeology, continuing on in law, education, biology, etc.
Other differences include simple things, like books. In the USA, I regularly had $300 book bills each semester (keep in mind this was in the early 2000s before pirated books were available). UK students pretty much expect to have access to all of their course materials from the library and we get major complaints if we don’t have enough copies or if the reading isn’t electronic.
There is also much Much MUCH more contact for UK students than I had–each year I am assigned 5-6 undergraduate supervisees whom I (in theory–they don’t always show up) meet at least twice per term. I meet many other students in office hours, particularly while teaching courses to the entire cohort. We keep close track of and accommodate for student disabilities, are trained in mental health first-aid, and with cohorts of 80-100 students each year, get to know students pretty well. This is probably less different for students who attend small liberal arts colleges in the USA. All of the other undergraduate students in UK courses are generally in the same year and are Archaeology students rather than the large USA Introduction to Archaeology courses (300+ students!), with a very small fraction of students who are actually interested in or have any background in archaeology.
Another difference (which may vary considerably within the UK) is that students learn archaeological field skills from commercial archaeologists, rather than from graduate students or other undergraduates as is often the case in the USA. Also USA students pay extra fees to attend field schools whereas the UK field school is part of the degree.
Dan, Tamsin and I went on the Cooking With Archaeologists podcast to chat about digital archaeology, research in Qatar and the Arabian Gulf and life in the field. It was lovely to speak to Colin and we contributed our super secret recipes for kebabs & a bonus recipe for baba ganoush:
Lamb Shish Kebab
Onions finely diced
Aleppo pepper or Urfa Biber (smoked Turkish pepper)
Ground black pepper
A few drops of lemon juice
Marinade for at least 6 hours and then put onto skewers
Light a BBQ with good lump-wood charcoal and let it get good and hot
Place the aubergines in the hot coals and let them burn until blackened and cooked through.
Scoop out the roasted aubergine, mash with a fork and add a crushed garlic clove, olive oil and salt.
Skewer up your lamb and cook over hot coals until it is just a little pink. Serve with flat bread and garlic labneh (or Greek yogurt)
After a series of tough decisions, I am extremely happy to announce that from 1 September, I’ll be the Lecturer in Digital Archaeology & Heritage in the Department of Archaeology at the University of York. For USA-folks, this is basically a tenure-track position, but without the tenure process. Kinda.
I am very happy to continue to work with my great friends and colleagues there…expect shenanigans of the highest order.
I’ve been intrigued by the narrative potential of GIFs for archaeological explanation and outreach for a while; in 2011 I played on Mitchell’s famous article on photography in asking, What do GIFs want? My early attempts were pretty much just short videos, but I developed them into a small publication in 2012 for a graduate journal called The Unfamiliar, wherein I explored archaeological illustration conventions, particularly the Uncertain Edge. I left them alone for a while, even though I explored their utility within my dissertation as polyvalent media/digital readymades in my dissertation.
Animated GIFs are uncommonly well suited for representing archaeology. A shudder-start, temporally ambiguous fragment of sequential media, the animated GIF (just GIFs, hereafter) occupies the margins of formal discourse, visually annotating everyday life on the Internet. The creation of a GIF – compiling frames of action into a sequence – draws an easy parallel with the mode of atomizing that characterises excavation, treating archaeological deposits as discrete entities and their subsequent reassembly into a stratigraphic sequence (Morgan 2012; Morgan and Wright in press).
Complex cultural expression is distilled into a brief gesture, the digital equivalent of an archaeological trace. Yet GIFs are fleetingly rare in archaeological representations, with only a handful of examples since the introduction of the media format in 1989. In this GIF essay (modelled on a photo essay), we briefly review the history of the animated GIF with particular attention to archaeological GIFs, discuss their utility in representing archaeological remains and narratives, and argue for a more creative integration of visual media into archaeological practice.
The “GIF essay” was co-authored with Dr. Nela Scholma-Mason, who was a PhD student at the time. I was inspired by her fantastic use of GIFs to communicate how the Norse would have viewed the prehistoric landscape of Orkney. Nela led a Heritage & Play workshop on how to use GIFs and I immediately wanted to co-author a paper with her on the topic. I mean, check out this incredibly striking GIF:
The article was part of a series invited by Gareth Beale and Paul Reilly on Digital Creativity in Archaeology and we are honored that our article is in such good company! Check out the Open Access paper in Internet Archaeology and let me know what you think:
Morgan, C. and Scholma-Mason, N. 2017 Animated GIFs as Expressive Visual Narratives and Expository Devices in Archaeology, Internet Archaeology 44. https://doi.org/10.11141/ia.44.11
You are standing in an open eld west of a white house, with a boarded front door. There is a small mailbox here.
>open mailbox Opening the small mailbox reveals an invitation.
>read invitation “WELCOME TO ARCHAEOGAMING! ARCHAEOGAMING is a game of adventure, danger, and low cunning. In it you will explore some of the most amazing territory ever seen by mortals. No computer should be without one!”
The blinking cursor at the beginning of an interactive text adventure held all the expectation in the world. A universe of words waited for you, and simple commands propelled you headlong into a maze of spoonerisms, chasing ghosts, solving puzzles; the blinking cursor could lead you to meet Zaphod Beeblebrox or get eaten by a grue. Zork – the game referenced above – seemed endlessly complex, sending you to Hades and back for treasure. It is within this breathless anticipation of fun that we find archaeogaming, a term usefully coined by Andrew Reinhard. Archaeology’s constant collisions with digital media, storytelling, and co-creation made this eventuality inevitable, and archaeologists are rapidly forming the lexicon for understanding how to speak ludology. I find Janet Murray’s germinal Hamlet on the Holodeck (1997) essential to this discourse; archaeogaming and other expressive forms of digital archaeology are what Murray terms as incunabula, an infant medium, untested and unwise in methodology and scope. Perhaps this is why they are so compelling….