Click the star to add/remove an item to/from your individual schedule.
You need to be logged in to avail of this functionality.
Log in
- Convenors:
-
Ffion Reynolds
(Cardiff University)
Seren Griffiths
- Location:
- Merchant Venturer's 1.11a
- Start time:
- 19 December, 2010 at
Time zone: Europe/London
- Session slots:
- 1
Short Abstract:
This session will explore the ways in which we approach our research. Essentially, we want to tackle the question: who are you? From a pluralist position one may argue that as a profession we become 'archaeologists' in a variety of ways. Do you call yourself an archaeologist first, or as in my case do you answer with a series of others labels/words? For example, are you a theorist first and foremost? Or an artist? Or are you fundamentally a writer or a philosopher? Does it matter to you how other people see your work?, or is it more to do with individual identity within a larger body of thought? How do you do your research? And how does it become archaeological? And how might your research create new concepts within archaeology? What would you like to leave behind? How would you like to be remembered? It is to these types of questions that we would like to turn to in our session. It is an opportunity to look towards ourselves in more detail, rather than to the analogies that we use. We want to open up discussion that will perhaps question our own positions within a specific school of thought - a position which follows in Chris Tilley's footsteps to some extent, in which he argues that as archaeologists, we arise in what is essentially an 'undisciplined world'.
Long Abstract:
How can archaeologists engage with other material culture specialists? Is being an archaeologist an important form of self-categorisation? What does being an archaeologist mean in contemporary societies? How do we understand archaeological practice? Are there peculiarly archaeological standpoints?
Archaeological practice is distinguished by emphasis on the study of material culture. In the 1990s, after a post-structuralist, textually deconstructive phase, archaeological literature increasingly emphasised 'materiality' (e.g. Graves-Brown 2000; Miller 1998). The study of 'stuff' presents archaeologists with vast potential for subject matter, and has resulted in wide-ranging agendas for practice (e.g. Buchli 2002).
Perhaps because of this diverse potential for archaeological engagement, archaeologists have been influenced by numerous disciplines, notably anthropology and sociology, but also fine art, history, geography, poetry, and so on. It has been argued that archaeologists exist, or more specifically archaeologies are produced, in an undisciplined world (Tilley 2006, 1), where to do archaeology is to privilege an engagement with stuff.
Plural practice can result in subversive, fluid, or heterdox interpretations. Plurality can challenge us, and move us. Pluralist practices can stimulate new insights — into things, inter-relationships between things, and into our individual and cultural conditions. Without neglecting the importance of the study of stuff, we wish to emphasis processes of doing.
This session welcomes discussion of the plural engagements archaeologists can fruitfully make, and exploration of practice in archaeological undertakings. We welcome papers addressing the notion of 'archaeologist' as cultural specialist. What does being an archaeologist mean in contemporary societies? Is being an archaeologist an important form of self-categorisation? — or would we be equally happy/productive/engaged/critical if we regarded ourselves as anthropologists/social scientists/craft practitioners/artists? Are there peculiarly archaeological standpoints?
What's so special about archaeologists anyway?
Accepted papers:
Session 1Paper short abstract:
This introductory paper will work through the main strands of today's session on 'pluralist practices'. It will highlight some key themes and questions, and will outline our own pluralist approaches.
Paper long abstract:
Many archaeologists are now pushing the boundaries of traditional archaeology, with many working outside the discipline. Indeed, theorising, and developing new approaches and practices for recovering, and interpreting the 'stuff' of archaeology is ongoing and ever-changing.
This paper will draw upon this distinctive research tradition which spans the discipline's many theoretical schools, and provides a basis for the session's main concern: the pluralist nature of things, people and archaeology itself.
Paper short abstract:
Can an archaeologist just starting his research, the product of an inter-disciplinary, post-processual education, in the current pluralistic intellectual environment, and with a research project which defies disciplinary definition, adhere to his hard-earned identity as an archaeologist? Should he?
Paper long abstract:
As academic pluralism becomes widespread, the need for definitions increases. Yet disciplines are never entirely stable nor coherent: 'conventional' practices/methods are ever-evolving. Even in Material-culture studies, an inter-disciplinary space in which collaborative investigations of the material world occurs, disciplinarily differences remain important. It is precisely the collision of these differences which provide alternative perspectives, prompting exciting new research (Hicks 2010), new ways of encountering and engaging (theoretically/methodologically etc.) with the material world.
My own research lies outside traditional archaeology, which has prompted me to question what exactly archaeology can offer me as a researcher, whether it would be more productive for me to align myself alongside, say, social anthropology, or attempt to carve my own niche in the complex, ever-shifting inter- or ex-disciplinary grey space?
Yet I am reluctant to do so. Is this disciplinary loyalty, the product of years of archaeological teaching and training, of the very institutional(ised) divisions which I question? Or does archaeological practice indeed materialise/temporalise/enact our objects of study in particular ways that is beyond the scope of other disciplines (Filipucci 2010)?
This paper will offer an exploration of my own deliberative process; should, or can, I frame my research archaeologically, does adherence to an archaeological identity contribute any epistemological or methodological value to it? These questions raise further issues: does disciplinary ascription provide not just different 'perspectives' on the world, but a decisive act, a decision taken about our own choices in enacting, conceptualising or engaging with the world: in different ways, for different purposes?
Paper short abstract:
This paper will examine how the 'authority' vested in archaeological interpreters acts to implicitly and explicitly constrain the possibility of plural engagements and interpretations.
Paper long abstract:
In this paper the question of 'who I am' (all or none of: pluralist/archaeologist/scientist) will be addressed, but in a circumambulatory manner, exploring how the nature of authority and plurality act to structure our practice as archaeologists, and thereby who we are. How plurality is understood in archaeology will be briefly explored, before turning to how plurality is expressed in interpretation, both methodologically and as a potential outcome. The position to be advanced here is that interpretative 'authority' (the socially ascribed/individually assumed right to make an interpretation) stands between the goal of plurality and the act of interpreting. Whether defined as the use of concepts taken from other disciplines, or as the involvement of non-archaeologists in interpretation, plurality is almost always subordinate to the authority of a given archaeologist. Power is always exercised that limits plural engagement. So if plurality can be limited, is it actually plurality? Can plurality, therefore, exist?
Paper short abstract:
Bam is a county located in south eastern Iran, a dry, desert marginal region. Our research was begun just after the earthquake under the title of Disaster ethnoarchaeology: Bam after the earthquake.The ethnoarchaeological research lasted three seasons. Changing the whole political structure of Iran after the 2005 election and powering the radicals, the research was finished because the new directors of ICHTO would not be justified to invest on such researches.we selected new ways of archaeological studies in Bam; we decided to excavate a Pre pottery site, a very important prehistoric site even in all Near East.Even thought the change in study strategy was not functional: the project budget was completely cut in 2009, Concentrating on the research process, our research plan from contemporary dynamic context to the static one in Bam will be discussed.
Paper long abstract:
Bam is a county located in south eastern Iran, a dry, desert marginal region. Our research was begun just after the earthquake under the title of Disaster ethnoarchaeology: Bam after the earthquake.Encountering with the traditional view points of archaeologists in Iran, we had lots of problems to justify that our research had been archaeology!The ethnoarchaeological research lasted three seasons. Changing the whole political structure of Iran after the 2005 election and powering the radicals, the research was finished because the new directors of ICHTO would not be justified to invest on such researches.we selected new ways of archaeological studies in Bam; we decided to excavate a Pre pottery site, a very important prehistoric site even in all Near East.Even thought the change in study strategy was not functional: the project budget was completely cut in 2009, the past directors of ICHTO were jailed and there were no supports of archaeological researches.
Concentrating on the research process, our research plan from contemporary dynamic context to the static one in Bam will be discussed. We were and are obviously field archaeologists who assess the theories in practice. We were the pioneers of a modern - functional research despite of Iranian archaeology traditional point of view. The government, directors and public are estimated as the different parts of the research and analyzed in relation to the archaeological team.
Paper short abstract:
As a pluralist practitioner, my work has developed from several strands of research, primarily focusing on tracing the material conditions which shaped all subsequent social and spiritual aspects of prehistoric civilizations and comparable societies of later periods.
Paper long abstract:
Having experienced within my scientific career various developments I came to understand that in the end most of these were of rather crucial significance. Since my early years of fieldwork took place in the last restricted tribal regions of Oceania then greatly still on stone age level these were of rather anthropological than archaeological character. Owing to the complete lack of any travel or research grants I had to depend on my own financial opportunities which were lecturing arts & crafts in the first and only local teachers trainings college there at this time and later by running an experimental tea cultivation project in the remote New Guinean highlands. Due to my rural background my following museological activities concentrated on the prehistory of the earliest civilizations of agriculturists and their technologies within their material, ecological and economical conditions. Besides of related topics of agrarian history most of my publications still dealt with results of my Melanesian fieldwork which also had a distinct impact on various international projects based on experimental archaeology. In recent years I was occupied with several new excavations and
the re-study of my previous fieldwork as well as by corresponding prospecting work in
eastern Central Europe and the organising of new research campaigns in Papua-New Guinea.
Paper short abstract:
The objective and subjective decisions that form the hermeneutical act of interpreting the past create finally a result similar to an artistic collage, therefore presenting analogies with the artistic act. Are we archaeologists also artists, even if we are not aware of this?
Paper long abstract:
There is more to subjectivity in archaeological science. For example the categories in which we divide the material culture of the past are definitely subjective.
Looking at the hermeneutic archaeological act as at chaîne-opératoire one can observe two kinds of stages: some objective and some representing "the choice" of the archaeologist, which suggest the inference of subjectivity into the scientific approach.
The objective and subjective decisions that form the hermeneutical act of interpreting the past create finally a result similar to an artistic collage, therefore presenting analogies with the artistic act.
Are we archaeologists also artists, even if we are not aware of this?
Bibliogaphy
Gheorghiu, D., 2001, Il passato comme opera d'arte, Ipso Facto, Milan, pp. 50-61.
Paper short abstract:
Is progressive thought and the ability to fully experience a moment clouded by the need to record and compartmentalise it? Einstein said that his relativity theory “occurred to me by intuition”. Are imagination and creativity legitimate archaeological tools, barred by the constraints of the relatively youthful concept of ‘science’?
Paper long abstract:
For the last five years I have made mixed media animated films, mostly in collaboration with a whole raft of 'ologists'; archaeologists, zoologists, geologists etc. Also integral to the making process is the input of indigenous community groups, not to mention creative types working in various media.
Prehistoric objects, archaeology, contemporary culture and landscape act as creative catalyst for these films, which although responses to the core material, are primarily works of imagination. I seek to tap into the knowledge, thoughts and (in particular) the 'hunches' of archaeologists and other specialists, generating a 'bank' of knowledge that brings a necessary integrity, logic or truth to the work. This is then further shaped by in-depth exploration of relevant places and creatively led dialogues with those that inhabit them.
Ultimately, by drawing on contemporary experience of a place, the nature of its physical reality and narratives and understanding relating to its past occupants, I seek to devise artworks that create conscious and sub-conscious resonances founded on fleeting moments of connection between past and present. Such resonances may perhaps be generated through common human 'emotional' reaction to archetypes, colour, sound, texture and the sharing of certain ephemeral experiences.
Moments such as these are reassuring; they bring perspective and represent continuity, circularity; a sense of universal order. In experiencing these moments of fundamental human truth, am I sharing a moment of connection with a prehistoric mind? And in actively seeking such experiences, do I as artist share the same fundamental aspiration as an archaeologist?
Paper short abstract:
Excavation sites and the domination of the eye
Paper long abstract:
Excavation sites and the domination of the eye
Access to archaeological excavation sites has provided me with an exposure to landscapes that I perceive as emphatically material and temporal. Over a number of years these encounters have changed me as a person and have had a profound influence on my artwork.
I recognize that the experience of these landscapes has engendered a gradual re-calibration of my senses, a realigning and a balancing of the faculties. This has en-richened the way I respond to my daily environment and has stimulated an ambition to broaden the sensory range of my painting.
As a consequence, it has illuminated the extent to which the everyday media of mass communication and much popular culture implicate us in a hierarchical ordering of the senses, favouring the visual above all else. This state of affairs goes largely unchallenged within the fine arts.
I intend to outline how the experience of excavation sites, filtered through the production of paintings that seek multi-sensory qualities, has made me aware of the degree to which the current stress on image-based material in contemporary life sets a limit on what can be communicated and on what can be experienced.
Paper short abstract:
The Artificial Ape argued that bodies, qua artefacts, can present skeuomorphically. The artifice of changing surfaces does not mask something deeper and more significant. It is what is distinctively human and thus properly real.
Paper long abstract:
'You're born naked and the rest is drag' (Ru Paul André Charles)
One of the main arguments advanced in The Artificial Ape is that humans are bio-technological symbionts, and have been ever since our species' emergence, the realm of technology creating the conditions into which we evolve. A natural state completed by artefacts had significant implications for decreased sexual dimorphism, and the migration of sex and identity markers outwards into material adornment and gender coded clothing. As humans become increasingly artefactual so, like other artefacts, they have scope to display skeuomorphism. But although possibilities for fluidity arise, these are typically restricted by the appeals that communities make to 'the natural' as they seek legitimacy for artificially created social orders. The essentialist appeal begins with the ideas of men and women whose differences by being both real and imagined, can be used to leverage a series of other, wholly imagined or projected divisions of role and status. Thus reality is always assumed to somehow be underlying, authentically revealed only if people arbitrarily present themselves in a culturally agreed appropriate manner. This presentation/ performance draws on personal experience of alterable identity to adumbrate the point that the phenomenon is - as Wittgenstein notes - not always a symptom of something else: the artifice of changing surfaces does not mask something deeper and more significant. It is what is distinctively human and thus properly real. Some social and political implications are signalled.