Fish Processing in the Mediterranean: Varying Traditions,Technologies and Scales of Production with Particular Reference to the Eastern Mediterranean

Research into the processing of marine resources along the Mediterranean coasts in antiquity reveals an uneven picture. The archaeological evidence for the systematic processing of fish and seafood in the western part is abundant and varied. Here, the production of salted fish and fish sauces seems to have been an important factor contributing to economic growth in many locations. In the eastern part of the Mediterranean, however, archaeological evidence for the processing of marine resources is much less common and is often indirect. Large-scale processing plants are virtually absent from the archaeological record and there are few studies of the remains of fish and shellfish or of other material evidence relating to fish preservation and commerce. Yet written evidence on the subject abounds, but places heavy emphasis on consumption and commerce rather than production. This paper describes the evidence and explores possible reasons for this imbalanced representation in an attempt to assess the actual importance of the processing of marine resources across the whole Mediterranean region. Issues discussed are the shifting emphasis on fish processing across space and through time, archaeological research agendas and methodologies, resource availability and abundance and, finally, issues of scale and visibility.     

The phytolith archaeological record: strengths and weaknesses evaluated based on a quantitative modern reference collection from Greece

The phytolith record from archaeological strata is a powerful tool for reconstructing aspects of past human behaviour and ecology. Considerable insights into the problems and potentials of this record can be obtained by studying phytoliths in modern plants. We prepared a phytolith reference collection of modern plants mostly from northern Greece that includes quantitative information on phytolith concentrations (number of phytoliths per gram dry organic material) and morphological assemblages. Here we analyse this reference collection with the aim of evaluating the strengths and weaknesses of the archaeological phytolith record. The reference collection comprises 62 different plant taxa. Of them, 28 are trees, 1 conifer, 10 shrubs and 1 herb, 3 domesticated annual legumes and 19 monocotyledons. We demonstrate quantitatively the extent to which woody species, legumes and fruits of dicots contribute only small amounts of phytoliths to the sediments per unit tissue dry weight, while leaves of trees and shrubs produce significant amounts of phytoliths and grasses are prolific phytolith producers. We compare the data of this reference collection with a similar reference collection from another Mediterranean ecosystem (Israel). The comparison indicates that some aspects of phytolith production are probably genetically controlled, whereas others are environmentally controlled. We note that despite the fact that woody species produce few phytoliths per gram of tissue, their record can be most informative when taking into account other properties of the sediments. We also note that jigsaw puzzle-shaped phytoliths normally form in plants that grow in humid conditions, but may form in arid environments when the plants are irrigated. This study clearly shows the extent to which some plants can be under-represented and others over-represented in the phytolith record. Knowing the extent of this bias can greatly improve our interpretation of the phytolith record.     

The Hidden Meaning of Forms: Methods of Recording Paleolithic Parietal Art

There are many restrictions placed on researchers studying Paleolithic Cave art due to the constraints of conservation that limit direct contact with the original works. This paper discusses how recent advances in technology have revolutionized the study and interpretation of Paleolithic cave art. The interpretation of Paleolithic symbolic systems is a complex process and hypotheses must be applied to cave art with the greatest of precision. A detailed analysis of the painted or engraved surfaces leads to a greater understanding of both the techniques employed and the actual sequence in which parietal compositions were executed. By unlocking the creative process followed by Upper Paleolithic artists we are able to glimpse the artist’s motivations and to understand a portion of the art’s hidden meaning.

Honoring Ambiguity/Problematizing Certitude

In this paper I argue that the practice of archaeology over-emphasizes and over-rewards unambiguous certainty in our interpretations, even though our conclusions are usually drawn from necessarily partial, underdetermined and complex evidence. I argue that full or partial erasure of ambiguity from our data and from our interpretive assertions does not serve the long-term interests of the discipline; that a feminist practice aimed at more nuanced understandings of the past and open to more subtle, multivalenced notions of reality, must accept ambiguity as a central feature of archaeological interpretation. After I review familiar strategies that are used to obscure troubling areas of uncertainty in archaeology, I urge feminist practice to resist employing these “mechanisms of closure” in our work. It is only by openly recognizing and preserving the ambiguity that resides in messy data arrangements today that we stand any hope of fuller and richer understandings in the future.