Condemned to metallum? The origin and role of 4th–6th century A.D. Phaeno mining campresidents using multiple chemical techniques

The Byzantine period (4th–7th centuries A.D.) site of Khirbet Faynan (Phaeno) was a state-run mining camp described in ancient sources as a destination for Christian martyrs and others prosecuted by the administration who were condemned to the mines (damnatio ad metallum). However, other evidence suggests that Phaeno had a much broader role and population in antiquity than that described by ancient writers. Here, strontium and oxygen isotope data on the level of migration into Phaeno were compared with elemental data on lead and copper skeletal levels to illuminate the varied exposure of local vs. non-local individuals to contaminated environments (presumably from working in mining and smelting operations). Dental enamel ⁸⁷Sr/⁸⁶Sr and δ¹⁸O data from 31 individuals excavated from the Southern Cemetery identified one individual born in a region with different strontium isotope values in the bedrock yet similar oxygen isotope signatures as Faynan. Most of the primarily locally-derived Faynan residents displayed skeletal copper and lead levels exceeding those seen in comparative samples, confirming that growing up and residing in the polluted environment of Faynan led to notable bioaccumulation of heavy metals and its resulting health effects. In addition, ten individuals had extremely elevated lead and copper levels in their skeleton resulting from more intensive exposure to contaminated environments, possibly through smelting and mining activities. These data confirm the relatively localized nature of this imperial operation and that this predominantly locally-derived population had different activities that put them ask varied risk for contamination by heavy metals.     

Early Anglo-Saxon Gold Braids

GOLD threads have been found in many Anglo-Saxon and continental Germanic graves of the period from the 5th to the 8th century A.D. (see catalogue, pp. 66 ff.). Early recognized as the remains of costly woven decorations to headdresses and the borders of garments, during the 19th century particularly they attracted much interest and discussion, some of it very pertinent.¹ Technical attention, however, of the kind required by their fragmentary state, was not then available, and it is only comparatively lately that the discovery of fresh examples in some newly excavated Frankish graves has caused a revival of interest in the subject, with the hopeful prospect of detailed technical studies to come from the continent in the future.     

Five views of Kypseli

Susannah Hoffman, Richard Cowan and Paul Aratow. Kypseli: Women and Men Apart—A Divided Reality. 16mm film, color, sound, 44 minutes. Purchase S425. Rental $40. Distributed by the University Extension Media Center, University of California, Berkeley.     

Correspondence(s) in The Pen Friend by Ciaran Carson

In The Pen Friend published in 2009, Ciaran Carson draws upon the form of the epistolary novel, albeit in a somewhat non-conformist way. How to convey reality through language, or languages – photography, painting among others – is once more the purpose of the writer, even though subject and form have been renewed. This article aims at showing how the reader is transported into a world full of correspondences, a world transfigured by the power of language.     

Fractured Media: Challenging the Dimensions of Archaeology’s Typical Visual Modes of Engagement

As new media technologies increasingly populate our toolkits, questions arise about whether archaeologists are yet even competent users of orthodox media. Prior to engaging with emerging tools, this paper takes one step back to probe the subtexts of traditional two-dimensional archaeological images. Of interest is whether the many implications of these images can be made poignant via personally manipulating and imposing upon their form and function. Influenced by the work of various playwrights, artists, anthropologists, cultural theorists, and archaeologists, this paper examines what is legitimate in our practices of picturing the past, and what it means to explicitly—perhaps illicitly—interfere with typical archaeological visuals. Via tentative experiments with assorted maps, photos and illustrations, I endeavour to turn these orthodox modes of engagement into more defiant tools of discovery and critique. Ultimately, my objective is to disrupt convention and prompt archaeologists to confront and respond to themselves (and their responsibilities to others) in their everyday interactions with media.