Tag Archives: Archaeology

SAA 2015: Lithics Cowgirl, Household Archaeologist, Digital Doyenne: A Session Dedicated to Ruth Tringham

Last Fall I announced the session that I organized, honoring the achievements of Ruth Tringham, my most fantastic colleague. Now the time has come and we have a panel that explores a broad range of topics from Ruth’s career: her ground-breaking research on lithics, household archaeology, digital archaeology, and much more. I hope to see you there!

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Society for American Archaeology 80th Annual Meeting
SATURDAY April 18th, 8:00AM
Continental Ballroom 6

08:00 Michael Ashley—Remediated Roads and Flights of Fancy, Travels with Ruth from Past to Present
08:15 Barbara Voytek—From Russia with Love: Ruth Tringham and the Early Days of Microwear
08:30 Doug Bailey—Who invited the Secret Police?
08:45 Colleen Morgan—A Chimera Spider at Play: Making, Creativity and Collaboration in Digital Archaeology
09:00 Michael Shanks—Ruth Tringham
09:15 Mirjana Stevanovic—Ruth’s Archaeology
09:30 Lori Hager—Who Will Remember the Dead? Embodying the People of the Past in Novel Ways
09:45 Peter Biehl—The Neolithic House: Ruth Tringham’s Interdisciplinary Approaches to (Re)Constructing Prehistoric Village Life in Southeast Europe and Anatolia
10:00 Margaret Conkey—Out on the Ice with Ruth: Taking Chances Together
10:15 Steve Mills—Walking to (A)muse: Exploring Senses of Place with Ruth
10:30 Angela Piccini—Archaeology’s Moving Images
10:45 Henrietta L. Moore—Feminism and Experimentation

11:00 Julian Richards—Discussant
11:15 Ian Hodder—Discussant
11:30 Ruth Tringham—Discussant

11:45 Questions and Answers

CAA 2015: The Death (and Afterlife) of Archaeological Photography

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Hello from lovely Siena! In about an hour I will be presenting in the Towards a Theory of Practice in Applied Digital Field Methods session at the CAA conference. It’s my first CAA–it is usually too close to SAA to manage, but I thought I’d try both this year. Anyway, here’s my paper title & abstract:

Title: The Death (and Afterlife) of Archaeological Photography

Abstract: 

The second wave of digital photography in archaeology, including HDR, photogrammetry, textures for 3D objects, time-lapse, drone photography, and screen-shots from google earth has destabilized notions of craft, authorship and the archive. Personal photography, taken with cellphones and curated on social media has created a substantial, expressive counter-archive that documents a more personal, experiential account of archaeological investigation. Digital manipulation of photographs has created a genre of hybrid images that combine past and present landscapes, to startling effect. While interplay between analog and digital photographies, inspiring innovation and stealing from one another, demonstrates that the digital age is still deeply embroiled with analog values and aesthetics, the second wave of digital photography in archaeology ventures into what J.T. Mitchell termed the “post-photographic” (1992:225).

While Mitchell characterized the post- photographic era as an “ineradicable fragility of our ontological distinctions between the imaginary and the real, and the tragic elusiveness of the Cartesian dream” (1992:225), this “loss of the real” has instead become a hyperreality wherein the imaginary is intimately linked to reality. The networked image has both decentered the “reality” of the photograph by hosting endless modifications and reproductions of the image while at the same time providing the ability to reference (or trace) the original “real” work. This “real” work is hosted next to the derivations, both de-centering its authority while also providing a citation for the modified images.

The post-photographic era is generative, rendering the act of creation of the photograph as something that will be reproduced and modified, instead of creating a single artifact. The placement of digital photography within an “interactive, networked interplay of a larger metamedia” is termed “hyperphotography” by Fred Ritchin (2009:141). Metamedia can be conceived as a media ecology of “larger personal communication that will keep appointments, make calls, take visual notes, check calendars, order from restaurants, find out about sales in neighboring stores, check blood pressure, and tune in to television, radio and personal playlists” (Richin 2009:145). It is within this media ecology that we must understand archaeological photography, not simply as a separate methodology, but as part of a network of personal and professional digital practice.

Navigating Brutalism at the 100 Minories Archaeology Project

Back in 2012, Dan and I worked at the fantastic 100 Minories project with L-P Archaeology. They’re some of my favorite people, so I was sad that I was not able to work with them on the excavation phase of the project, which is currently in full swing. I have two blog posts about the evaluation stage, wherein archaeologists dug to 7m deep, punching test pits through the thick London stratigraphy:

100 Minories Project
Diggin’ Deep at 100 Minories

They have their own, very nice project website now, take a gander:

http://100minories.lparchaeology.com/ 

And they’ve featured some of the building recording photography that Dan and I did inside the old Navigation School, a 1960s Brutalist structure:

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Check out a few of the rest of the images HERE. I swear we used a scale in most of them, they just picked the ones without!

Mornings in the Manor

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It was all so new, a year ago, when I described the over and under and through of my commute to work, walking through a microcosm of English history. Now it passes in a blur, I’m either in my headphones listening to a podcast or buzzing by on my lovely Gazelle–the sturdy Danish bicycle that I steer over frozen cobblestones and muddy, overgrown pathways.

I was delayed this morning by a brief flurry of snow, predicated by an Easter pink and yellow sky. I don’t notice my commute much, and a lot of the culture shock has worn off. Now I hear my previous self in other Americans, going on and on about the subtle differences, the quirks, the realignment of world view, and I hope that I wasn’t that completely tedious. I probably was.

I can understand most of what people say these days, even the most York-shure, and I don’t get as many looks of utter incomprehension when I ask for eggs or butter. Verbal code-switching has become comfortable and useful, though there’s still the occasional confusion with “shop” and “store” and a few other things.

So I was in my at-least-partially-acculturated haze this morning, wheeling my bicycle over the big stone pavers of King’s Manor, when I crossed paths with one of the lovely porters. We don’t really have porters in the States, they’re sort of watchmen/caretakers of the building, but not janitors or rent-a-cop security. They are constantly kicking me out of the building, as I often work until closing time–19:00 (7:00PM)–shockingly early in academia-land. But they do it with a smile, especially after I engaged on a military-esque campaign of extreme friendliness until even the most curmudgeonly porter relented.

As usual, I greeted the porter with a big smile and wave, and, code-switching without a thought, asked him if he liked the snow this morning. He returned my smile and said, in the most charming of accents:

“No, no. We never like the snow.”

Something about his cheerfully brusque response, the big old medieval walls rising around me, and the clatter of my bicycle wheels over the pavers pushed me out of my acculturation and made me notice again, back to being a stranger in a strange land. But I’m okay with that. If anything it made me happy to be reminded of how far I’ve been, how much I’ve changed, and how many adventures are yet to come.

Where are the Female Contemporary Archaeologists?

Citational communities can be at turns fascinating, infuriating, and utterly destructive. Literature is easier than ever to search for, but there’s also an unholy amount of it out there–while I was finishing my thesis on digital archaeology I had to cut off my research references at 2011 or else be crushed under an unending tidal wave of words. It’s worse when you do very interdisciplinary work, and even worse when you move between two very large research communities, USA and Europe, and get reviewed by scholars from all over the world. I’m glad I don’t deal much with other languages or I think I’d run off into the Pennines, never to be seen again. It’s deadening. Impossible. Right?

So it’s tempting to cite Latour, five of your good friends, then send your work off to the journal, figuring that the peer reviewers will ask you to cite THEIR research as well, and be done with it. There’s constant snide struggles between academics at even the top levels who intentionally do not cite each other, and perpetuate this onto their students, who advance within an echo chamber, only occasionally stumbling on the other work later down the road. It’s disheartening.

But sometimes it’s just citational communities–when I took my methods & theory class at UC Berkeley, the professors teaching it told us that they were making us Berkeley Archaeologists, giving us their particular take on current literature. I deeply appreciated this. Still, when we reach outside of our citational community, we tap the works of the Great Thinkers and pat ourselves on the backs for being such fashion-forward interdisciplinary academics, truly expanding the field.

Then you see yet another volume of archaeologists talking to each other without referencing anyone outside of their small circle.

Then you see a talk that provides a survey of a particular subfield where not a SINGLE woman is referenced.

Then you see a whole panel of editors for a new journal without any women.

And this doesn’t even take into account indigenous scholars, people of color, non-Western scholars, etc, because that’s so utterly depressing that I can’t even start.

So it was with great interest that I read Zoe Todd’s “An Indigenous Feminist’s take on the Ontological Turn” who articulates this so much better than I ever could:

So, for every time you want to cite a Great Thinker who is on the public speaking circuit these days, consider digging around for others who are discussing the same topics in other ways. Decolonising the academy, both in europe and north america, means that we must consider our own prejudices, our own biases. Systems like peer-review and the subtle violence of european academies tend to privilege certain voices and silence others.

She provides a “cheat sheet,” a list of people who have been thinking about, in this case, the Ontological Turn for decades. Brilliant.

In this spirit, I’ve started a list of Female Contemporary Archaeologists, for our own “cite this, not that” list. When I emailed the list to a few colleagues to get it started, there was the recognition that a lot of these women don’t have positions in the academy, were not able to operationalize non-standard archaeological practice into so-called “real jobs.” Still, many continue to publish and contribute to archaeology and do fantastic, citable work. The list is editable, please add publications, names, keywords, anything you can think of:

Female Contemporary Archaeologists

I encourage you to set up your own “cheat sheets” and edit them, share them, and consider accordingly evaluating the next hiring decision, the next conference–heck, scan the references of the next paper you write. Who is your citational community? Are you perpetuating a hetero-normative, racist, colonialist, male-dominated academy, even while speaking in emancipatory tropes?

How Savage is Your Savagery?

After receiving some rather chilling feedback regarding the name of my blog, you know, Middle Savagery, I took a step back to think about it a little bit more. I thought it was obvious to everyone, that it was reclaiming an arcane, racist category for classifying ancient societies in a reflexive, anthropological way. I shouldn’t have assumed.

While I had been blogging since 2001, I started my archaeology-based blog in 2004, after taking Sam Wilson’s excellent The Archaeology of Complex Societies class, wherein we had to directly address what complexity means. It was one of those game-changing classes for me, a rigorous exploration of archaeological literature on complexity that revealed my own assumptions about social organization a moment before blowing them completely away. In it, we learned about the history of categorizing ancient societies, including Lewis H. Morgan’s system of progression through savagery, barbarism and civilization, with gradations of Upper, Middle and Lower for each category.

So when I heard that the name was not well received, I was taken aback. By now Middle Savagery feels worn-in, well-used, easy–perhaps lacking the sharpness of critique, an archaeological in-joke on a blog that has grown far beyond the original intended audience of friends and the handful of archaeologists communicating online at the time. I thought about transitioning to a new blog, but I’m torn. I might still. Lacking that, I re-wrote my rather glib About page to include the following:

The name of this blog is from Ancient Society written in 1877 by Lewis H. Morgan. In a very racist, colonialist way, he categorized all societies within an arcane hierarchy, ranging from Savagery to Civilization. In a fit of reflexive angst brought on by sharing the last name Morgan, in 2004 I named this blog after one of these categories, “Middle Savagery,” to highlight the ludicrous nature of ranking ancient and modern societies along such lines. It is not meant to perpetuate or codify these categories in any way, but for us to highlight the suspect history of anthropological and archaeological thought.

Even as archaeological blogging has grown vast and somewhat mundane, I hope that I can keep up a little outpost here at Middle Savagery. That, and we’re finally publishing the papers from my 2011 SAA Session on blogging in the excellent, Open Access Internet Archaeology–look for it in the coming months.

Art, Archaeology, and Fonts at the Van Eyck

The Jan van Eyck Academie felt otherworldly, a precise, modern shadowbox surrounded by winding medieval streets. Artists wandered in and out of studios, only vaguely curious as to what a gaggle of archaeologists was doing at an art institute in Maastricht, Holland.

I was almost too distracted to notice. I about to give the keynote lecture for the NEARCH meeting, on Archaeology and the Image, and navigating between the two audiences I would be addressing was making me nervous. Very prominent, senior academic archaeologists and cutting-edge contemporary artists would be hearing all about archaeological photography, modernity, and representation. Or my take on it, at least.

Art/Archaeology at the Van Eyck! #holland #nearch

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So when I came across this pair of doors leading into studios, I had to laugh. What better description of life as a postdoc? “Super confident, always worried” indeed. Except in my case those two doors would lead to the same office.

Touring the incredible @jve_academie print studio.

A photo posted by colleenmorgan (@colleenmorgan) on

 

Later, we’d go on a tour of the Van Eyck, including the print workshop where artists and scientists print and bind beautiful catalogues and single, masterful pieces. I knew that they specialized in older, analogue printing techniques and yet I couldn’t conceal my delight when the cabinets of heavy typeface were opened. As a child I toured a print shop where they were switching over to digital printing and I was given my initials in letterpress lead block caps, all in slightly different sizes: C.L.M.

 

The print master showing us around had twinkling eyes and a million inks spread across his work shirt–I couldn’t resist asking him about the Van Eyck’s particular, casually stylish font. Apparently it was traced from the remains of the work of the sign painter, Pierre Bonten, who painted the “no parking” signs outside the Institute. It was clever; the font combined an appreciation of the past of the institute, a nod toward craftmanship, and the interplay between analogue and digital forms of expression.

bontepike

This artistic, archaeological font is named Bontepike, Here’s a video about the process: