After almost two years, I’ll be visiting my hometown again soon. I live and work as an archaeologists in a country in Central Europe where I did not grow up. I was reading John Bradley’s “When a stone tool is a dingo: Country and relatedness in Australian Aboriginal notions of landscape” the other day. Bradley manages to illustrate and summarize some important points about how past (and present) societies might understand their surroundings much less compartmentalized as we in western societies of the 21st C might do. It made me wonder if the concept of a lithic tool being a dingo can be translated to the (peri-)alpine Central European Mesolithic. Could a stone tool be a lynx instead?
However, intuitively the first thing that came to mind reading about such a complete/holistic worldview did not concern the Mesolithic, but my own life. More than a third of my life I have now spend away from where I grew up. Those ca. 13 years were spend in 6 cities on two continents. All of these cities have grown dear to me, but none of them I know as well as the city I spend my younger years in.
A. Deusser - Arcen von Westen (Lottum, von Arcen aus gesehen, mit Bodennebel, Abendlandschaft an der Maas, Lottum, 1918 - 1924.)
Deusser moved to the region I grew up in, during the 1910s-1920s, living and painting in Arcen.
One of the band members of Arcade Fire went back to the neighbourhood he grew up in and wrote the song “We used to wait” about this. Chris Milk and a team from Google made the interactive video The wilderness downtown around it, taking you back to YOUR youth. It is an amazing experience and shows what is possible with HTML5. It’s worth a try (best with google chrome).
My understanding and knowledge of the part of Europe where I spend the first 19 years (and a few more later on) of my life goes back at least four generations, roughly 120 years. It is probably the most in depth and intense knowledge and understanding I will ever have of any part of the world. I guess this will be true for most if not all people who pack up their things and go and live in a new part of the world. Perhaps I will look back at this post in 20 years and think how wrong I was. But maybe archaeologists, dealing with the material and immaterial remains of the past (and present?) in our surroundings find it easier than many others to find stone-tool-dingos – or lynxes – in their newly adapted homes.
Bradley, J., 2008, When a stone tool is a dingo: Country and relatedness in Australian Aboriginal notions of landscape, in David, B. & Thomas, J. (eds), Handbook of Landscape Archaeology. Left Coast Press
Posted in anthropology, archaeology, archaeology - Mesolithic, Archäologie, Limburg, lithics, Mesolithikum, mesolithique, Venlo, visualisation
Tagged a.deusser, arcade fire, archaeology, lithics, wilderness downtown
So archaeologists from the UK & Austria believe to have found ‘the find‘: a woodhenge (/barrow?) near Stonehenge. Illustrator Mike Frodsham does a nice tongue-in-cheek interpretation job : henge jealousy and an almost cave painting.
An exhibition at the York Art Gallery. I just came across the website. The gallery seems to have asked “…four artists to create a new installation at York Art Gallery’s studio. Their installation uses photography, video, sound and interactive digital technology to explore the era.” The artists visited the site and had a look at the finds as well.
I wish I could go and have look and see what they came up with. Although the YAG website shows a few pictures, it would be fun to see more, esp. of the digital and sound-work.
Posted in archaeology, archaeology - Mesolithic, art, UK, visualisation
Tagged AG Mesolithikum, archaeology - Mesolithic, art and archaeology, Mesolithikum, science & art, Star Carr, York
Archaeology has always had its own visual vocabulary. We show our research results to our colleagues and to the wider public. This can, at the danger of simplification, often be divided into two categories: 1.) the dokumentation of the research results (plans, finds, tables etc.); and 2.) those visualisations that convey our interpretations (e.g. reconstruction drawings).
If we take the accurate visual representation of lithics (chipped stone tools) research, Martingell and Saville (Martingell and Saville 1988; Saville 2009) for example, argue we should that we should attempt to include as much factual information, mainly on technology, in drawings. Saville (2009, p.750) also includes, rightly I believe, use wear results in this.
However, like with most visualisations, it is, e.g. difficult to use this style of illustration to represent the dynamic, non-linear character of technology. Riede (Riede 2006, fig. 6, p62) tries to represent an evolutionary chaîne opératoire – artefactontogenies and phylogenies – and as such also the dynamic nature of technology in a figure. Although it is not a bad attempt, it is still rather linear. I fear that most people, including archaeologists, who are not in detail familiar with these ideas, see little more then another representation of the classic reduction sequences he tries so hard to avoid. This is especially the case as I expect that for many researchers the idea of an evolutionary chaîne opératoire is rather counter intuitive.
I have not seen any really satisfying examples of illustrations showing the dynamic nature of technology or an evolutionary chaîne opératoire. Continue reading
Posted in alpine archaeology, Alpine Archäologie, archaeology, Archäologie, art, CH, evolutionary archaeology, Switzerland, visualisation
Tagged alpine archaeology, Alpine Archäologie, archaeology, Archäologie, CH, lithics, Schweiz, Switzerland, Universität Zürich, visualisation in archaeology