Framing the past: situating the archaeological in photographs

Archaeology continually reproduces its own images. Speaking archaeology’s visual language is one way we prove membership in the discipline. Many aspects of this visual language have become so naturalized within archaeological representation as to be almost unquestionable: the cleaning of the site, the use of scale, and particular framings and perspectives. How, then, is the production of particular photographic images of archaeology related to the practice of archaeology? Does archaeology look a certain way (in photographs) or are archaeologists reproducing an archaeology according to the way it is thought it should look? Using examples of early photographs from Latin American archaeological expeditions, this article investigates not only photography as an applied technology for scientific recording, but also its power to situate archaeological knowledge. Drawing on recent reflective and critical developments in both the history of archaeology and visual anthropology, it uses five focal points – trace, objectivity and authenticity, sight/site, still lifes, and still lives – to argue that early-twentieth-century archaeological photographs of Latin America participated in the generation of an ‘authentic’ past rather than simply paid testament to it.     

Pencils and Pixels: Drawing and Digital Media in Archaeological Field Recording

Within the context of a growing emphasis on digital recording, what is the place of analog drawing in archaeological fieldwork? In this article, we situate the increased application of digital drawing methods by providing several historical examples of archaeological field drawing in British archaeology to demonstrate the connection between understanding the archaeological record and illustration. Given this background of analog archaeological recording, we then explore the current state of archaeological field drawing and the affordances of digital illustration for recording and interpreting the archaeological record, review literature in architecture and design regarding the cognitive function of analog and digital drawing, and discuss the possible future implications of born-digital or paperless archaeology.     

Snapshots of History and the Nature of the Archaeological Image

By its very definition, archaeology is situated at the intersection of the material and the temporal worlds. Photography is similarly positioned, and yet it can be manipulated to produce constructed contexts according a photographer’s agenda. In order to explore how the abilities and limitations of archaeology and photography are entwined I examine the representational power of the photograph and the phenomenon of Japanese tourist photography. I then discuss the construction of archaeological photographs, both in practice and in the prescribed theory contained archaeological methods textbooks, as well as how photographs are used to represent the embodied, physical performance of archaeology.     

Notice of Inscriptions and Antiquities,Discovered at Caerleon

This paper presents some of the background information considered necessary to expand the archaeological uses of aerial photography. Some problems encountered recording archaeological features from the air are discussed but the paper concentrates on the subsequent use of aerial photographs and covers the interpretation and plotting of archaeological features, use of different map scales, and outlines two schemes for the presentation of completed drawings which show air photograph evidence. The uses and potential of morphological analysis are included, as are comments on the relevance of fieldwork to air photograph interpretation.

An appendix considers the application of geophysical techniques to air photograph sites, and the deductions that may be derived from these non-destructive methods.     

Documenting Archaeological Mortuary Features using High Dynamic Range (HDR) Imaging

This technical note presents a refined technique for photo‐documenting archaeological mortuary features using High Dynamic Range (HDR) imaging. Mortuary features in archaeological context can be complex and delicate given the wide variability in grave constructions and preservation of human skeletal remains. It is therefore critical to obtain the greatest detail possible when photo‐documenting these features. HDR techniques represent more contrast in photographs and provide greater detail across the DR of illumination within mortuary features—where complex arrangements of human remains can obscure or darken other elements or associated funerary objects, making them difficult to identify in traditional photographs. HDR can be employed with most standard digital single lens reflex cameras used for archaeological field projects, is easy to learn and employ (as described here), can be processed and produced with commonly used photo editing programs, and is ideal for use in unpredictable conditions that are often encountered with archaeological mortuary features and in field conditions. Copyright © 2013 John Wiley & Sons, Ltd.     

Archaeology and the Moving Image

Archaeological filmmaking is a relatively under-examined subject in academic literature. As the technology for creating, editing, and distributing video becomes increasingly available, it is important to understand the broader context of archaeological filmmaking; from television documentaries to footage shot as an additional method of recording to the informal ‘home videos’ in archaeology. The history of filmmaking in archaeology follows innovations within archaeological practice as well as the availability and affordability of technology. While there have been extensive analyses of movies and television shows about archaeological subjects, the topic of archaeological film has been characterized by reactions to these outside perspectives, rather than examinations of footage created by archaeologists. This can be understood to fall within several filmic genres, including expository, direct testimonial, impressionistic, and phenomenological films, each with their own purpose and expressive qualities. Footage taken on site can also be perceived as a form of surveillance, and can modify behaviour as a form of panopticon. Consequently, there are considerations regarding audience, distribution, and methods for evaluation, as these films are increasingly available on social media platforms. This paper explores the broad context for archaeological filmmaking and considers potential futures for the moving image in archaeology.     

考古学研究的问题来自哪里?

问题通常是研究的中心,而考古学研究的问题来自哪里却长期困扰着中国考古学研究者以及即将进入研究领域的学生,因此有必要梳理考古学研究问题的形式、内容、来源与背景关联。文章侧重指出考古学研究的问题来自于考古学"透物见人"多层次推理的过程,我们需要从外在与内在的关联之中来审视考古学所研究的问题,唯有如此,考古学研究的问题才可能丰富精彩。。     

?Doing Archaeology?: cultural heritage management and its role in identifying the link between archaeological practice and theory

Using a case study of the recent history of archaeology in Australia, the paper details how Cultural Heritage Management, in addition to protecting the archaeological data base, actually protects archaeological access to it. In offering this protection, archaeologists involved in Cultural Heritage Management become the regulators of archaeological practice and theory. Here archaeology comes into direct contact and conflict with governments and a range of interest groups, notably the Aboriginal community, with a stake in material culture. In effect 'doing' Cultural Heritage Management is 'doing' archaeology.     

Administration of parks with rack art: A symposium and workshop in Jujuy Argentina,December 2003

Abstract

Visits to archaeological sites, within school, a history or archaeology club, or a family group, are the main means for young people to engage with the archaeological historic environment. The majority of archaeological sites easily accessible for such groups are those that have been 'sanitized' for public consumption. These are often devoid of explanation of the archaeological process which made them accessible. This paper looks at the contribution that working archaeological sites can make to young people's understanding of archaeology, with particular reference to visits made by branches of the Young Archaeologists' Club, based in the UK.     

Units of Archaeological Stratification

The excavating archaeologists’ methodological set ‐ excavation, recording, analysis and publication ‐ rests on the notions and principles of the stratigraphic succession of archaeological deposits. Since 1954 when Sir Mortimer Wheeler published Archaeology From the Earth, there has been a dearth of published discussion on the stratigraphie theory in archaeology. This paper examines some of the background of the stratigraphie notion in archaeology and a revised model for archaeological stratigraphy based on ‘units of stratification’ is presented. Re‐evaluations of stratigraphie configurations in archaeology arc perhaps long overdue and this article is an attempt to engender discussion on this fundamental archaeological tenet.     

河北考古发现研究与展望

<正> 河北地处华北平原北部,东临渤海,西倚太行、南近鲁豫、北接燕山、幅员辽阔,历史悠久,是中华民族发源地之一。在我国古代文明史上占有极其重要的地位。半环形的渤海湾直从东鄙深入腹地,连京、津、唐三角地带,山东半岛、辽东半岛相对如钳形,中间的长山、庙岛列岛形成了古代齐鲁与辽东的重要陆桥。这里也是从渤海东去黄海、朝鲜半岛、日本和远及东北亚、东南亚的重要通道。是东亚地区古代人类面向太平洋的重要活动空间地带。     

NO STONE UNBURNED: A COMPOSITIONAL ANALYSIS OF OBSIDIAN MICRODEBITAGE BY LASER ABLATION TOF–ICP–MS

Obsidian is an effective material for the study of prehistoric raw material use and exchange, due to the high degree of homogeneity and redundancy of obsidian materials and manufactured objects in the archaeological record. The destructive nature of many analytical techniques often impedes compositional research because of the damage that may occur to priceless archaeological artefacts. The combination of time‐of‐flight (TOF) ICP–MS with a laser ablation sample introduction system provides a highly efficient means of chemically characterizing obsidian. This study shows that sample size limit capabilities of TOF–ICP–MS analysis of obsidian can reach less than 100 μm. Sampling and analysis of microartefacts enables researchers to overcome problems of sampling bias with very little damage to the valuable existing materials within the archaeological record and expands the potential for chemical compositional analyses in archaeology.     

UNESCO, URI, and Archaeology in the Deep Blue Sea: Archaeological Ethics and Archaeological Oceanography

Multiple groups have interests that intersect within the field of deep submergence (beyond the 50 meter range of SCUBA) archaeology. These groups?? differing priorities present challenges for interdisciplinary collaboration, particularly as there are no established guidelines for best practices in such scenarios. Associating the term ??archaeology?? with projects directed at underwater cultural heritage that are guided by archaeologists poses a real risk to that heritage. Recognizing that the relevant professional organizations, local laws, and conventions currently have little ability to protect pieces of cultural heritage across disciplines and international boundaries, the authors propose institution-specific mechanisms, called Archaeology Review Boards, guided by local and international laws and conventions concerning cultural heritage, as the best means to provide oversight for academically centered archaeological activities at the local level.     

Cultural Imperialism and Heritage Politics in the Event of Armed Conflict: Prospects for an ‘Activist Archaeology’

The production of archaeological knowledge is embedded in a long-standing tradition of colonial encounters. This paper asks how political-economic interests impinge on archaeological work, specifically in the event of armed conflict. To answer this question I discuss commodification of cultural heritage and analyze it as a form of structural violence. I argue that the attitude that allows treatment of archaeological artifacts as saleable items with international owners is part of a strategy of global cultural imperialism. Exemplified by the case of the US-led invasion of Iraq in 2003, this paper shows how the clash of global ‘heritage’ politics with local practices of memorializing the past results in a tension: because capitalist governments consider the locales whose glorious pasts are studied by archaeologists to be culturally inferior, the nexus between (trans-)national actors and local communities is an asymmetrical one. In order to overcome the hegemonic role of archaeology within these dynamics, I propose an ‘activist archaeology’ that enables a political activism grounded in recursivity.     

Consuming the Past: Public Perceptions towards the Discipline of Archaeology in Zimbabwe

This paper discusses the public perceptions of archaeology and the information that archaeologists produce in Zimbabwe. There have been accusations that archaeologists in various parts of the world research for themselves. The products of archaeological research are often presented in academic jargon only accessible to those in the profession. Archaeological research in developing countries has been criticized for having limited involvement, if any, with the local communities in which it is conducted, and fails to address development issues that are important and much more relevant to the concerned societies. The paper discusses the extent to which these accusations are justified in Zimbabwe, focusing on the perceptions that local communities have on archaeology, archaeologists, archaeological remains, archaeological research, and institutions dealing with archaeological cultural heritage in that country. It also discusses why it seems difficult to put into practice some of the suggestions that have been made in the past on how to engage with the public. The paper argues that, although there have been efforts to change the situation, southern African archaeology in general and specifically its practice in Zimbabwe remains largely a preserve of the initiated. It concludes by recommending that writing on archaeological issues be accessible and that research issues should have social relevance. Awareness of local communities in research, outreach activities to schools, and the benefits of archaeological resources for local communities, are crucial means by which the value of the discipline can be appreciated by the public.     

The Archaeologist as Witness: Matthew Harvey's Glebeland Works,Walsall

Abstract

Opportunities to make first-hand records of industry should be grasped whole-heartedly by archaeologists. By taking a saddlery manufacturer in Walsall as an example, this article outlines some of the benefits of documenting working practices. It emphasizes that a first-hand knowledge of manufacturing techniques can assist archaeological interpretation, and shows that processes rarely proceed in a 'text book' manner, usually allowing for empirical adaptations. Process recording can also be used as a critical tool in the understanding of archaeological sites where the techniques employed are now extinct. The article concludes by considering two accounts of the iron trade written in the 18th century, which are compared with the results of process recording in the 20th to offer new insights into industrial archaeology as the archaeology of work.     

Virtual Representation: the Production of 3D Digital Artifacts

As new digital technologies now pervade the discipline of archaeology, the practice of creating digital 3D representations of artifacts has become widespread. The rapid growth and acceptance of these technologies into the discipline leaves us in a position where we must engage with how these tools fit our epistemologies. I propose that we look to a much older technology, photography, to inform the way that these digital artifacts are dealt with as we move into an increasingly digital field. In doing so, I will argue that the creation of a 3D digital artifact is a productive process, just as any form of media used to document and interpret the archaeological record. Through this production, the digital form is decoupled from the original physical artifact. The creation of a new representation of the artifact (in the form of a photograph or digital model) provides a new dimension to our interactions with these artifacts. The result of the digital movement in archaeology is a more interactive experience with artifacts, allowing researchers and the public alike digital access to archaeological collections. If the current trend continues, digital artifact modeling will become as indispensable to archaeology as traditional photography. It is therefore necessary for archaeologists to be aware of the subjectivities and biases that exist during this productive act as we move into a more integrated field of digital, representational technologies.     

Developing a Collaborative Strategy to Manage and Preserve Cultural Heritage During the Libyan Conflict. The Case of the Gebel Nāfusa

The paper discusses the potential of a collaborative scheme for the development of a protocol for recording and managing the cultural heritage in Libya. The critical political situation in the country urges the development of cultural heritage management policies in order to protect it more thoroughly and consistently. Moving on from the numerous international initiatives and projects dealing with a mostly “remote” approach to the issue, the project here presented to engages with staff members of the Department of Antiquities (DoA) in the development of a joint strategy for the application of remote sensing and geographical information systems (GIS) to the preservation and monitoring of Libyan cultural heritage. A series of training courses resulted in an initial development of new ways of recording and analysing field data for a better awareness of the full range of threats that the archaeology of the country is subject to. Focussing on the case of the Jebel Nafusa, the training involved the assessment of site visibility on satellite imagery, the analysis of high-resolution satellite datasets for archaeological mapping, the creation of a GIS spatial database of field data, and the mapping of risks and threats to archaeology from remote sensing data. This led to the creation of of a risk map showing the areas that are affected by a number of threats, thus giving the DoA a tool to prioritise future fieldwork to keep the assessment of site damage up to date. Only a collaborative approach can lead to a sustainable strategy for the protection of the invaluable cultural heritage of Libya.