Interview with Natalie Marr & David Ashley Pearson: Introducing the Short Film ‘Visitor’

21 Jun

Natalie Marr is an artist who works across video, sound and performance, and draws inspiration from science fiction, landscapes and different experiences of time.  She is currently completing a Masters in Filmmaking and Media Arts at the University of Glasgow.  After the release of ‘Visitor’ Natalie will be taking up a research position at the University of Glasgow in a multidisciplinary project to study the impact of the Galloway Forest Park, Scotland.  For current and previous multi-media projects please check out her website here, ‘Visitor’ will be released in Autumn.

David Ashley Pearson is a multimedia artist who focuses primarily on sound design.  He is particularly interested in exploring improvisation, acoustics and the physicality of sound.  His approach to sound is ever-changing but is underpinned by a curiosity for its substance and a passion for musical exploration.  His blog entitled Love Without Anger, where he reviews film, games and music, can be found here.


These Bones of Mine:  Hello Natalie, thank you for joining These Bones of Mine! In something of a first for this blog our main topic of discussion will be a short experimental film of which you are currently in the process of producing.  Visitor, your upcoming film focuses on people who stargaze and the entwined personal stories of the night sky.  It promises to be something special; however speaking as an archaeologist interested in the lives of others, I’m keen as to what led you onto the path of film making?

Natalie Marr:  Thank you for inviting me! I feel like film has always been there in my life as something that I just love, it is a form that transfixes me, surprises me, soothes me, challenges me.  One of my greatest pleasures is to go to the cinema alone and just sit in the dark with a great film!

I have a background in the arts and I would still struggle to call myself a filmmaker – it doesn’t even matter really – but I suppose what I’m getting at, is that film is just one form that I am drawn to working with, and the qualities of film that I particularly love are the immediacy of it, the way it moves me on a physical, emotional and sometimes spiritual level, and also the way it plays with my experience of time.  These are qualities that I also try to explore in sound and performance.  I am also interested in the experience of seeing a film, sitting in the dark, the way you give yourself to a film for a period of time.  But that’s obviously a very purist way of looking at it!

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A detail from ‘Visitor’. Still film image courtesy of Natalie Marr.

Visitor is very different to any films I have made before…  It has been a very social process. In the past I have tended to shoot abandoned buildings, landscapes, environments that I freely walk around and capture and onto which I project my own story. There is landscape (or skyscape!) in ‘Visitor’ too, but because of this social process of interviews, spending time with people under the stars, as well as the autobiographical aspect, my approach to filming environments has changed too: it is not something I just project onto, it is another element that I am interacting with and learning from.

TBOM:  The interaction of the social process, within the creative production of a piece of art, is an idea that grabs me.  It is much the same in archaeology where archaeologists are never quite just the bystander to the material remains of the past – they act as both the interpreter of the architectural features and artefacts uncovered, but also as a gatekeeper to unlocking the potential knowledge of the remains and disseminating it to a wider audience. We even, acting in an environmental context, landscape the past through the examination of archaeobotanical remains and populate it with species through zooarchaeological analysis.  

In this context the personal voices of the past are largely silenced by time, but I’m left wondering how have you found the effort of capturing the social process?  Have you felt a greater duty to represent those who you film, as oppose to the silent landscapes and skyscapes of your earlier short films and photographs, or is this a false distinction?

Natalie:  Yes! The process has really sharpened my sensitivity to observing and recording and the challenge of how to represent other people’s stories, other people’s lives.  What I’m trying to do is build the experience of that challenge into the film and make myself – as a narrator or guide – vulnerable, responsive and unfinished.  It is very subjectively led, and most documentary/non-fiction films are to some extent – they are personal theses – but what I like about the essay film format, is the emphasis on the personal and the impressionistic and that’s what I’m running with in this film.  ‘Visitor’ deals a lot with projection: how we project ourselves onto the night sky, how we make Space personal.  Constellations as one example: they enable us to navigate our way around the sky, and we give them names that have their own historic and cultural colourings.

But the film is also about being responsive and like you say, it is a mistake to think of the land as silent, though in terms of ‘duty’ or a relationship of care, there is a more obvious concern for me when thinking about representing people, and maybe that’s because the effects of my actions are much more immediate.  It is so so important to get out of that mindset though, and spending time under a dark sky helps!

When I look at the stars, I feel I am tuning in to them.  I’m interested in the experience of darkness and how the body changes in a dark environment.  I get a stronger sense of this out on location in a place like the Galloway Forest Park, in Scotland, maybe because I’m standing outside for hours and time seems to slow down, and maybe it is also because I slowly start to tune in to the sound of the forest and of the different creatures that live there.  A funny side note on that – the last time I stayed in Galloway, one of the best night-time sounds I heard was a cow somewhere off in a neighbouring field, softly mooing as it slept, lovely!

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A silent salute in space. Still film image courtesy of Natalie Marr.

I am a big fan of science fiction and in particular its commitment to ‘becoming other’.  There is a quote I carry around with me all the time, which is from Fredric Jameson in his 2005 book Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions; he’s talking about the challenge in science fiction of representing the other when it is beyond our comprehension or experience, how do you do it?!  And his answer is that the ‘other’ demands a new kind of perception, which demands in turn a new organ of perception, and ultimately a new kind of body (sorry – I am paraphrasing!).  So the problem sort of creates its own solution if you are happy to let it work its magic on you.  With ‘Visitor’ it is a kind of feeling around in the dark at times and not knowing exactly what I’m working with, but it is hugely rewarding to be open to that.

TBOM:  Having seen the two trailers for Visitor a number of times now I am struck by the two timescales represented – the human lifetime and memory contrasted to the great age of the universe and its celestial bodies.  There are also similarities to Patricio Guzmán’s 2010 documentary Nostalgia for the Light, particularly in the revealing scenes of drawing back the covers for the apparatus that are used to peer into the inky darkness.  

However, whereas Guzmán contrasted the interviews of the astronomy and archaeological researchers with the family members searching for the remains of Pinochet’s victims hidden in the Atacama desert, your film is of a more personal nature.  Indeed there is the sense of personal solace present in it, the calm movements noted in the preparation of the equipment to observe the stars.  Where have you drawn your influence for this project from?  How has it developed as you have moved along the length of producing Visitor? 

Natalie:  Yes, its been a while since I saw ‘Nostalgia for the Light’ but it’s definitely there.  I was so moved by it, there was a special kind of quiet power about it, it’s deeply political but also deeply personal.  You are right, there are definitely shared motifs between ‘Nostalgia…’ and ‘Visitor’, personal projections, the unknown, darkness, light.  I see lots of correlations between looking up and looking down, and of course, looking into space is effectively always looking into the past.  I see these women, who are spending every waking moment searching for the remains of their loved ones, as located neither in the present, nor the past.  ‘Nostalgia for the light’…a longing for light cast from the past perhaps, but how long will they have to wait for it to reach them?  They are trapped in a time-scale that will likely outlive them and it’s intensely sad.

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A detail of one of the telescopes at the Galloway Astronomy Centre. Still film image courtesy of Natalie Marr.

The phrase ‘to be in the dark’ is about not knowing and not having answers or facts and this is definitely something shared between ‘Nostalgia…’ and ‘Visitor’.  In ‘Visitor’ there is a reading of darkness in terms of being unanchored, in free fall.  This is how I felt when I lost our mutual friend Holly, like I lost my grip on reality for a while, and it felt very destructive.  In ‘Nostalgia…’ an interviewee comments that to be without memory is to be nowhere, and I think of a tiny body surrounded by total darkness, spinning like the astronaut Ryan in the film ‘Gravity‘, unmoored and alone.  This also makes me think of the Disappearance at Sea short film by artist Tacita Dean about Donald Crowhurst who died at sea, unable to locate himself geographically, because his chronometer was not giving him a correct reading on the local time.  Tacita Dean uses the image of a lighthouse in her film, another motif for searching.

But spending time under dark skies over the last 6 months is changing my relationship with darkness; my body and mind sense in a different way.  It’s like the lights go out and something else switches on, it is a bit like being in a car picking up a radio station that starts off as noise but as you travel into its field of transmission, it becomes clear.  Vision is obviously an important aspect of stargazing, but also the feeling of being outdoors at night, the very different qualities of sound that emerge, and a sense that your ‘time’ vibrates with so many other ‘times’.

When I looked through the telescope at Jupiter recently, I saw this incredibly distant planet and four of its moons, but pressing my face against the eye piece, the darkness of Jupiter’s ‘world’ encloses me and it feels like it’s right there and I can touch it, it is very intimate.  I was speaking to one of the Galloway Biosphere Dark Sky Rangers recently about stargazing as a very intimate activity that involves a lot of trust.  She mentioned that if she were to meet her workshop participants the next day in the sunlight, she may not be able to tell them by face!  So the experience of darkness and of stargazing is quite complex and also transformative for me, and I believe transformative for others too.

TBOM:  Yes, after losing our friend Holly I also felt an incredible sense of darkness and disarray.  Light eventually returned, particularly when I think of the time that we had spent together and also through getting to know one of her favourite musicians, Sufjan Stevens

It seems to me then that memory and distance are recurring motifs within ‘Visitor’, from both your own viewpoint and from the people who you have interviewed for the film.  As an anchor to these themes, and as a comfort to the sheer size and depth of the universe, the bonds of family and friends also seem to play a pivotal part within the film.  Is this a fair assessment?

Natalie:  Yes, definitely.  I keep coming back to distance and proximity.  A lot of the people I have interviewed share their night sky experiences with loved ones or close friends.  It might be a phone call in the early hours of the morning between two people at different ends of the country looking at the same planet, or a certain constellation that makes you think of the person you first encountered it with.  Distance gets collapsed in those moments of remembering.  And I guess that’s what you mean when you have said to me that you feel close to Holly when listening to music she loved and in particular the musicians she introduced you to or that you listened to together.  Memory is a strange thing, as are dreams and sometimes they cross over.

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A walk in the wild as preparations for a night of stargazing take shape. Still film image courtesy of Natalie Marr.

I am definitely partial to the mystical qualities of the universe, as well as the hard science (!).  Astrophysics is fascinating to me and never stops surprising me; though it is extremely rigorous in its science, I think that it is also an area that allows space for speculation and wonder which, for me, is hugely creative and helpful for thinking about slippery things like memory and experience.  The language of astrophysics alone is incredibly rich and strange, and speaking it or listening to it transports me somewhere beyond my usual experience and I guess I’m trying to follow that and see where it leads!

TBOM:  Speaking of other languages I know we have spoken about music before this, with reference to our shared love of Fever Ray, Godspeed You! Black Emperor and Vladislav Delay for example, and I feel I can almost hear their influences within the trailer for ‘Visitor’.  How did you approach the sound and music composition for this film though, and where did your influences for this come from?  

I know that you regularly collaborate with your partner David Ashley Pearson on your productions, such as on the 2013 short film Waiting for an Answer (Waiting for a Sign), and that he has helped produce the soundscape for ‘Visitor’, so this may also be a question for him as well.

Natalie:  It really does help that we’ve known each other for such a long time and also worked on projects together or been witness to each other’s projects.  I’m not great at describing sound, it is very slippery to me.  David has a more nuanced understanding of it and the physics behind it. We didn’t discuss much in the way of influences…  I think we both know what we like!  In terms of soundtracks that have really blown us away recently though…  Definitely Mica Levi’s score for Under the Skin (2013) and we also loved the score by Ryuichi Sakamoto and Alva Noto for The Revenant (2015).

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The preparation of a Bahtinov mask. A Bahtinov mask is a device utilizing focal grids and variations in angle diffraction to help achieve optimum focus when using small astronomical telescopes, or when conducting astrophotography, to view bright stars accurately. Still film image courtesy of Natalie Marr.

There are obviously a set of themes or motifs in ‘Visitor’ which you can sink your teeth into sonically and some of the main aesthetic approaches for this have been thinking about tuning in/tuning out, sounds that take us away from ourselves and yet have an uncanny familiarity and the idea of signalling or sending out a message, a beacon.  We both share an interest in experimental music, but I would say I’m more partial to looking for a beat that I can cling on to, whereas David is a bit more fearless when it comes to sound!  I think it makes sense here to let David talk more about his approach to the sound design…

David Ashley Pearson:  Hi there, thanks for showing such an interest in our film, it means a lot.  My relationship with music (and sound in general) has been incredibly intimate and personal my whole life, I find it embarrassing to listen to the music I love with others as it’s like revealing a part of myself, it makes me feel somewhat naked and exposed!  Even music that it is incredibly social such as Punk, Dance or Pop I find difficult to listen to with others.  I like to delve into sound and find a personal connection, typically when I find that connection I can become obsessed and mesmerised by the sound and feel I own it in some way.

Before moving to London in 2007 I was always looking out for new and interesting sounds, I’ve always listened out for something that struck me as unique and creative but it wasn’t until I got to London and got to listen to and attend some Free Improvisation concerts that I felt my ears truly open up.  I’ve always loved and strove for ambiguity and multiple meanings in my work and I find that in its purest form in Free Improvised music.

When I first moved to London I went to Mark Wastell’s – now sadly closed – Sound 323 record shop in Highgate; exposing myself to a whole new sound culture, it was a phenomenal experience just leafing through all the CDs and absorbing it all.  That first time I went there I bought Lawrence English’s For Varying Degrees of Winter (2007) which is an incredibly meticulous and icy ambient album, I love it but it was probably one of the music conventional CDs there!  At the time Mark had some music playing in the shop that was like nothing I’d heard before; it was an incredibly unusual, textural, hard to place sound… and very slow!  I didn’t know how to interact with it and what it meant, it was alien to me and I loved it because of that; it was Free Improvisation!

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A Scots Pine garden, Glasgow, Scotland. Still film image courtesy of Natalie Marr.

With Free Improvisation (and in particular the ‘New London Silence’ scene that I gravitated towards) all sounds come out of silence and the player’s environment.  Traditional ideas of instrumentation, musical notation and scales are chucked out the window in favour of a purer listening to sound as sound, the sound’s interaction with the space and the sound’s interaction with other sounds.  This idea of sound coming out of silence is incredibly important to me for this film and it’s also important that sounds come out of the imagery and montage that the film paints.  I have made sound concepts/sketches for the two trailers but I hesitate to truly start on the final soundtrack until more sections of the film are in place – as I want to interact with the imagery.  I also want to keep in mind the cinematic space and how my music interacts with the voices of those we’ve interviewed for the film.  I can’t wait to see and hear how it comes together!  The soundtrack will feature voices, textures, field recordings, synthesizers and other bits and bobs… whatever works in driving forward the story Natalie wants to tell!

TBOM:  The two trailers released so far certainly indicate the sound coming out of the silence, and I’m looking forward to seeing how your exposure to Free Improvisation influences the soundtrack David.  Natalie, the initial release date for ‘Visitor’ is September to coincide with the end of your Masters course and you are currently crowdfunding for the remaining production.  What are your hopes for ‘Visitor’ and do you have any plans after? 

Natalie:  Yes, very soon! The film is being produced as part of my degree and will be completed in September.  Once ‘Visitor’ is completed, we’ll be submitting it to festivals, so fingers crossed it gets some interest and circulation and it will be interesting to discuss it with a bit of distance.  In the meantime though, we are working on raising funds to finish the shooting and for some post-production work.  Any support is welcome and we are really pleased to offer some night sky-related perks including a stay at the Galloway Astronomy Centre and an astrophotography workshop with Viridian Skies, also based in Dumfries & Galloway.

 

Beyond the film, there is so much still to be explored.  Recently I’ve been very lucky to be accepted for an incredible research project based at the University of Glasgow, with a focus on mapping the values of the Galloway Forest Dark Sky Park, so that’s the next three and a half years of my life.  I’ve become really attached to the area (and to its skies!) so it is a dream to be encouraged to delve in deeper.

TBOM:  It certainly sounds like you have plenty to contend with and I wish you the best of luck with the release of ‘Visitor’.  I shall look forward to experiencing it when it comes out.  I’m sure readers of this blog will also be interested to hear how your research into the Galloway Forest Dark Sky park takes shape so please do keep in touch.  Thank you and David once again for joining These Bones of Mine.

Natalie:   Thank you also for your support of the film and for taking the time to discuss it in more detail, it really does help to unpick it a bit and reflect on it while it’s still being made.  It is also fantastic to be in such good company on These Bones of Mine!

Further Information

  • Visit Natalie Marr’s website for further information on her current and previous projects.  You can listen to David Ashley Pearson’s sound projects here, and visit his blog Love Without Anger, where he reviews film, music and games.
  • You can help fund and donate to the making of  the short film ‘Visitor’ on the IndiGoGo webpage by visiting here.  Dependent on the amount of money given the individual backer can receive a number of perks related the production of the film.  These include, but are not limited to, special riso print postcards, an invitation to the opening night of the film, as well as a night’s stay at the Galloway Astronomy Centre for two.

Historical Lens: The Past and the Present

19 Jun

As regular readers may recall I have a deep love for both historical and modern literature, with a particular soft spot for travel writing or for literary memoirs.  Good travel writing, I find, delves not just into the adventures or mishaps of the writer and the contemporary individuals that they bump into but also of the cultural, geography and history of the places that they visit, as and where necessary.  That there is a sense of the present, but also links to the past and the lure of the future.  As many readers may also know that there have been a lack of posts over the past half a year or so due to a number of factors.  I do apologize, but I have at least managed to read a good many books that may also interest some readers here!

In particular I have recently rekindled a love of Russian literature through the acquisition of the recently published English translation of Memories: From Moscow to the Black Sea, by the humorist writer Teffi (the pseudonym of Nadezhda Alexandrovna Lokhvitskaya, 1872-1952).  The memoir recounts her 1919 flight from her home in Petrograd (St. Petersburg) to Moscow and then onto to Constantinople (modern day Istanbul, Turkey), in the Ottoman Empire, following the twin revolutions of 1917 with the Bolshevik rise in power and the subsequent Russian Civil War (1917-1922), which tore apart the Russian Empire and ended the rule of the Tsar.  The outcome of the civil war resulted in the birth of the Soviet Union (1922-1991).  It is out of the scope of Memories but Teffi moved to Paris, France, and joined the émigré Russian cultural circle there, a city where she remained for the rest of her life never to return to Russia to write or perform.

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Humourist ‘Teffi’, the pseudonym of the Russian writer Nadezhda Lokhvitskaya. Image credit: Wikipedia.

It is an illuminating read and one that richly rewards the reader with Teffi’s sense of humanity and humour in each line of text.  I had not heard of Teffi before I happened to come across and read a review of the book in a newspaper, but this is perhaps not unusual as she has been rarely published into the English language following her death in 1952 and the once-famous poet and feuilletonist, who at one point was read by both Tsar and Lenin, had largely disappeared from sight under the blanket of history.

Memories strongly reminded me of another book of reportage that I had recently completed, Dispatches from Syria: The Morning They Came for Us by the journalist Janine Di Giovanni, which documents her experiences of reporting the unrest on the ground following the Arab Spring protests that rocked the country in early 2011, and a host of others in the Middle East and North Africa from late 2010 to mid 2012, and her experiences of the early stages of the Syrian Civil War (March 2011 – present).  Both Teffi and Giovanni each respectively document the individuals involved in the fighting, the civilian and soldier alike regardless of the faction that they are fighting for or fleeing from.

Acknowledging the Past, Documenting the Present

This blog has always had a relatively humanist core running through the posts that I have published here, and this continues to be the case.  Archaeology though, as a discipline, is never a static subject of study.  This is the case in fact of the archaeological material itself, both through the associated site formation processes at play and through the prism in which researchers view said archaeological sites and their material accumulation.

We are informed of the past through the lenses of our personal bias, cultural bias, and material survivor bias.  The good researcher can recognize these bias, and their filtration into the analysis and research produced, and integrate or parse them aside as necessary, or at least acknowledge them as such.  The great researches uses their bias to illuminate the effect that they can have on the understanding of the nature of the material under study.  This isn’t just limited to researchers though – the artist, the writer, the director, these and others from many different creative fields influence and and document the times and cultures that we both experience and know of.

Memory As Written

Therefore I am always intrigued by travel and memoir writing, by the documentation and views of the traveler writing in depth on the culture and history of a time they knew, how history is contextualized.  One of my most treasured works that I have come across is the Dutch writer Cees Nooteboom’s Roads To Berlin: Detours and Riddles in the Lands and History Germany, which documents his experiences working and travelling throughout the country and its capital city within the greater history ans culture of Germany.  Perhaps I am biased as, having visited Berlin in college and having spent an extended time on a European Union funded archaeology placement in Magdeburg, I have a love for the country and its peoples.  (Alas however as my tongue is no good with languages!).

This could be a matter of mere exposure to something different, something beyond the everyday interaction of your own expected experiences.  There is learning to be had in expanding your literature horizons, however.  I’ve yet to truly delve deep into German literature, but I think I know where I’d like to visit next on my mental map of cultural investigations.

Hopping Aboard A Russian Ark

So, having just ordered a copy of Leo Tolstoy’s novella The Death of Ivan Ilyich, I am taking a break from the world of Karl Ove Knausgaard’s My Struggle cycle of books (after recently and ravenously finishing the fourth volume) and instead jumping from the Scandinavian literary scene to the Russian world once again.

On a related side note, I’ve also somewhat belatedly realized during the writing of this post that the banner photograph that I chose for the blog back in 2011 is by the photographer Alexey Titarenko.  It is a detail taken from a single photograph from one of his City of Shadow series (1992 to 1994) which documented life in St. Petersburg at the fall of the USSR, and transition into the Russian Federation, and capture the chaotic political changes and economic upheaval that this brought with it.

This is all really tying in quite nicely with the interest that I have developed in Russia and the country’s history through its literary giants.  Finally, and to complete the cultural immersion of the photographic, literature and film mediums, I am off to watch Sokurov’s majestic Russian Ark, a 2002 film that promises to present a fantastical portal into the imperial history of Russia taken in one stupendous long shot.

Bibliography & Further Reading

Chandler, R. 2014. Stepping Across the Ice: Teffi (1872-1952). Article published September 25, 2014, in The New Yorker. (Includes excerpts of Memories).

Di Giovanni, J. 2016. Dispatches from Syria: The Morning They Came for Us. London: Bloomsbury.

Nooteboom, C. 2012. Roads to Berlin: Detours and Riddles in the Lands and History of Germany. Translated from the Dutch by L. Watkinson. London: Maclehose Press.

Russian Ark. 2002. [Film] Directed by Alexander Sokurov. Germany/Russia: The Hermitage Bridge Studio (St. Petersburg) & Egoli Tossell Film AG (Berlin).

Teffi. 2016. Memories – From Moscow to the Black Sea. Translated from the Russian by R. Chandler, E. Chandler, A. M. Jackson & I. Steinberg. London: Pushkin Press.

Titarenko, A. 1992-1994. City of Shadows. [Photography]. Nailya Alexander Gallery.

Upcoming: Zooarchaeology and Human & Non-Human Comparative Osteology Short Courses at the University of Sheffield, September 2016

21 May

I recently had the great joy of once again visiting Sheffield to catch up with old friends and to see the Steel City anew.  It was strange, as it always is, to visit the city where I was once a student, where during the year I was a resident and cramming to complete the Masters in human osteology I was now just a tourist on holiday.  I was able to relax and browse record stores and bookstores without the guilt of an upcoming Bone Quiz hanging in the back of my mind.  One thing I hadn’t quite missed though was the hills of the city, but my love for the trams was rekindled and I managed to avoid the steepest of slopes with relative ease.

Whilst there I also managed to catch the thought-provoking film Anomalisa, direct by Charlie Kaufman, at the University of Sheffield Student Union in a night ran by the film society.  The society do fantastic work screening relatively recently released films on a Friday, Saturday and Sunday night at affordable prices for the general public and student body alike.  It is definitely worth checking out.  I also shared pints with friends who had stayed or moved to Sheffield to pursue the great archaeological career.

It was great to catch up on the latest news from the commercial and academic spheres, to hear of the sites that my friends had dug at or to hear of the community projects they were involved in.  Over a black coffee in the sweltering sun I was reminded by my good friend Lenny Salvagno that the Department of Archaeology, at the University of Sheffield, is organizing a number of new osteology short courses.  The short courses are taking place in September 2016 and will be of interest to readers of this blog.  So without further ado let us get to it…

Animal Remains: An Introduction to Zooarchaeology

The Understanding Zooarchaeology I short course will run for the eleventh time on the 12th to 14th September 2016, for the price of £180 or £120 (student/unwaged).  Animal bones and teeth are among the most common remains found on archaeological sites, and this three-day course will provide participants with an understanding of the basic methods that zooarchaeologists use to understand animal bone evidence.  The course will introduce the principles and basic topics behind the zooarchaeological analysis of skeletal animals in the archaeological record, including specific focuses on avian, amphibian, reptilian and mammalian skeletal remains.

This includes not just the recognition of these animal groups and their basic skeletal anatomy but also how the zooarchaeological analyses the remains (such as age at death indicators and the recognition of skeletal pathologies) and the methodologies used in assessing the role of animals in the past.  It’ll also introduce factors that affect the remains post-burial and best practice strategies for the long-term storage of remains uncovered.  The three-day course will end with sessions on skeletal metric analysis, biomolecular techniques used in zooarchaeology (such as stable isotopic analysis), quantification of the material, and finally the role of bone modification in the study of animal remains.

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Beasts of a future past. Utilizing the extensive collection of animal skeletal remains from the osteology laboratory, the zooarchaeology short course attendees will get to know the basic anatomical teminology, recognition and differences between species. Image credit: University of Sheffield, Department of Archaeology.

A Comparative Analysis: Human and Non-Human

This introductory course will be followed by a new course, entitled Human and Animal Remains: A Comparative Approach, the first time that such a course has been ran at the department.  This short course runs from the 15th to 16th September 2016 for the price of £180 or £120 (student/unwaged) and will focus on a comparison of the skeletal anatomy between human and non-human animal species commonly found from archaeological contexts in northern Europe.  By using both macroscopic and microscopic analyses, along with an insight into biomolecular investigations, the course will illustrate some basic tools used in distinguishing human remains from those of other animals.  Different methodologies and research approaches that characterize the different disciplines of human osteoarchaeology, zooarchaeology and forensic science will be discussed and evaulated.

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Bridging the comparative osteology divide. The comparative human and non-human short course brings together the knowledge of human and animal skeletal specialists to compare and contrast methods of analysis from archaeological populations. Image credit: University of Sheffield, Department of Archaeology.

Both the three-day long Understanding Zooarchaeology I and two-day long Human and Animal Remains: A Comparative Approach short courses are aimed at students, professionals in the archaeological sector and general enthusiasts.  The courses do not require any previous knowledge of the discipline and the general public are thoroughly welcome to attend.  The teaching in both courses will be delivered through short lectures, hands-on practical activities and case studies.  You can also attend both of the courses from the 12th to 16th September 2016 for the price of £220/£330 (student/unwaged), which means that you are able to save if you are interested in both.

Not Opposites, Complements

To study the skeletal remains of human or of animals, human or non-human, that is the choice that prospective students are often faced with in the realm of higher study in order to specialize in osteoarchaeology.  Yet it is widely known that human osteology is, on a commercial archaeological level, a saturated place.  The story in academia is the same.  Competition is fierce for both funding and for places in programs.

But human osteology and zooarchaeology are not polar opposites and never should be.  The human osteologist, bioarchaeologist, or forensic anthropologist, needs a good and solid grounding in the morphological differences and variations present in both human and non-human skeletal remains.  As does the zooarchaeologist, especially when faced with commingled and multi-species contexts that can be, and often are, found within archaeological sites.  It is to the advantage of the individual to be either be multi-skilled in the analysis of human and non-human skeletal remains, or to at least be au fait with what to expect with osseous material from archaeological contexts.  Therefore short courses, such as those that are mentioned above, are advantageous to each participant and to the archaeological sector as a whole.

Further Information

  • As always I am more than happy to advertise any upcoming human osteological and zooarchaeological short courses in the United Kingdom on this blog.  Please do leave a comment on email me (see my email address in the About page) and let me know the details of the upcoming course and I’ll add a post about it.

Guest Post: Launch of the University of Sheffield Rothwell Charnel Chapel Project Website by Greer Dewdney & Jennifer Crangle

16 Apr

Greer Dewdney is a graduate intern on the Rothwell Charnel Chapel Project, which is run by the University of Sheffield’s Department of Archaeology in conjunction with Holy Trinity Church.  A graduate of the department, Greer’s role is to help facilitate the project through its various stages.  Dr Jennifer Crangle, a University of Sheffield graduate and a Workers’ Educational Association tutor, is the project initiator whose doctoral research it is based upon.  Her research focuses on funerary archaeology and human osteology, with specific reference to medieval period England and Europe and a focus on the funerary treatment and the curation of the dead, both physically and ideologically.  Joe Priestly is an undergraduate student in history and archaeology at the department and also a freelance documentarian.  He acts as the project’s media designer and built the project website.

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The Rothwell Charnel Chapel Project is a joint venture between the University of Sheffield’s Department of Archaeology and Holy Trinity Church at Rothwell, in Northamptonshire, which aims to further understanding of the Medieval ossuary beneath the church.  The ‘bone crypt’ as it is known to local Rowellians, is one of only two sites in England with a Medieval charnel chapel where the structure remains intact and with human remains in situ (the other is at St. Leonard’s Church in Hythe, Kent).  The Project was begun as a result of Dr. Jennifer Crangle’s PhD research, and since then has been continuously expanding to address the many and varied areas of interest that have arisen in the investigation of this almost unique archaeological site.

One of the main areas of focus for the project currently is the creation of a ‘digital ossuary’.  This is being produced through collaboration with the Computer Sciences department and the Advanced Manufacturing Research Centre (AMRC) at the University of Sheffield.  By taking a 3D laser scanner into the crypt and strategically positioning it around the ossuary to take multiple scans, a point cloud has been generated which accurately records the ossuary in three dimensions.  This point cloud is what can then be processed and refined into a full 3D digital model, which can be viewed and explored by people through a computer, so that the fascinating and engaging experience of visiting the bone crypt is no longer restricted to people who can get to Rothwell and have good enough mobility to tackle the stairs.  This research was presented at this year’s CAA (Computer Applications & Quantitative Methods in Archaeology) conference in Oslo, Norway, by Jennifer Crangle and Peter Heywood.

rothwell site

The new website introduces the background to the site and the aims of the project. All images courtesy of Joe Priestly.

Another of the current focuses is an attempt to secure some dates for the bones in the crypt, as obviously the question of when they date to is foremost in the minds of many of the researchers and local residents.  Recently, some surface samples were taken for CHRONO, the C14 radiocarbon dating service at Queen’s University Belfast, to test the nitrogen content of the material.  These have determined that the bones are well-preserved enough for radiocarbon dating to be feasible.  With kind permission of the Church Council, five full samples will be taken to be tested (again at Queen’s University), so hopefully there will soon be some more concrete ideas of when some of the remains are  from.

Although this won’t tell us when the bones were deposited in the charnel chapel, it will answer one of the most frequently asked and longstanding questions in the site’s history.  The dates could give us some further insights, however, into the use of the charnel chapel and how it was perceived by Rowellians; for example, if one or more of our samples date to the 1700s or later, then they had to have been brought in after the site’s rediscovery circa 1700.  This illustrates the continued belief, that the charnel room was a suitable place for depositing bones, even if it wasn’t being used as a charnel chapel in this time period.  As a part of this any and all results from the radiocarbon dating are going to reveal so much more about the charnel chapel than we currently know.

Recently the project was awarded funding from the University of Sheffield Engaged Curriculum, and this has enabled the hiring of 3rd year Archaeology & History undergraduate student Joe Priestley.  Joe designed and built the project website, as well as providing invaluable services in photography and documenting events.  This strand of the work has created a great relationship between the people of Rothwell and given them, and others from across the world, the ability to interact with, and further, the research happening at this fascinating and unique site.

Further Information

  • Find out more on the Rothwell Charnel Chapel project website, where the history of the site is discussed alongside the current research aims.  You can also take a video tour of the church and chapel itself with the researchers and members of the church involved with the project.  Keep an eye out on the site for open day tours of the site with the University of Sheffield researchers and the church representatives.  Typically these are held yearly but expect the project to pick up pace and introduce further open days as appropriate. 
  • Check out the Facebook group where we regularly post updates about our research and get involved with the project.  We also welcome feedback, so please do get in touch with questions or ideas.
  • Check out a previous These Bones of Mine photography essay on Rothwell from the 2014 open day.  The post delves into the background of the site and highlights what research has taken place over the years at Rothwell and the context for the current University of Sheffield research project.

Selection of Previous & Current Research on Rothwell

Crangle, J. N. 2013. The Rothwell Charnel Chapel and Ossuary Project. Past Horizons. Published 03/08/2013.  Accessed 14/04/2016. (Open Access).

Crangle, J. N. 2016. A Study of Post-Depositional Funerary Practices In Medieval England. University of Sheffield. Unpublished PhD/Doctoral Thesis.

Garland, A. N., Janaway, R. C. & Roberts, C. A. 1988. A Study of the Decay Processes of Human Skeletal Remains from the Parish Church of the Holy Trinity, Rothwell, NorthamptonshireOxford Journal of Archaeology7 (2): 235-249.

Gonissen, J. 2013.  New Tools in Anthropology: An Evaluation of Low-Cost Digital Imagery Methods in 3D Photogrammatry and Reflectance Transformation Imaging Applied to Fragile Osteological Material with Limited Access: the Case of Rothwell ossuary (Northamptonshire, UK). University of Sheffield. Unpublished MSc Thesis. (Open Access).

Parsons, F. G. 1910. Report on the Rothwell Crania. Journal of the Royal Anthropological Institute of Great Britain and Ireland. 40: 483-504.

Osteo Short Courses: Agestimation at the University of Huddersfield & Human Remains in Commercial Archaeology by Historic England, May 2016

12 Apr

There have been a few emails landing in my inbox recently that have peaked my interest, so I highlight here a few short courses that have presented themselves and I take a quick look at the forthcoming annual British Association of Biological Anthropology and Osteoarchaeology conference, which is held at the University of Kent in September.  But first, the short courses…

Historic England are holding a day-long course on Wednesday 11th May titled Human Remains in Commercial Archaeology: Legal, Ethical and Curatorial Considerations, which is to be held in Cambridge.  As a massive bonus the event is free to attend.  This re-run of the course, which was previously held in both Bristol and Manchester last year, sees it tackle the issues that surround every aspect of human remains within commercial archaeology.

If that whets the taste buds the University of Huddersfield are holding a short course examining the methodologies used to age human skeletal remains titled Agestimation.  The course, held at the Forensic Science department, runs from the Friday 13th May to Saturday the 14th May 2016.  The two-day long sessions include lecture and practical elements to assess the theory and methodologies used in aging human skeletal remains.  The short course costs £160.00 (£100.00 for students and staff at the University of Huddersfield) and includes 2 meals, however please be aware that the maximum number of participants is 30 so apply by the 9th of May 2016 to join the course.

The course is aimed at the interested student or early stage researcher.  I’ll put up more contact information here, and any page specific site, once further information has been released on this short course.

Finally, here is a quick remainder of the upcoming 16th annual British Association of Biological Anthropology and Osteoarchaeology (BABAO), conference which is this year held at the University of Kent, near Canterbury, in September 2016.  Registration is now open for participants to join and submit abstracts (200 words max,) for podium presentations and/or poster presentations from researchers involved with the fields of biological anthropology, osteoarchaeology and assorted allied areas.  Please be aware that the deadline for abstracts is Friday 1st July.  The conference itself runs from Friday 9th to the Sunday 11th September, and costs range from £175.00 to £115.00 unwaged although please do be aware that the price jumps to £180.00 for late bookings from July 14th.  This is not a cheap conference by any means, although it does include the lovely meal and quiz.

babao

An association to join if you are involved with human remains in archaeology, forensic anthropology, bioanthropology or any of their allied disciplines.

The four sessions at the BABAO conference cover the full range of biological anthropology and its related fields, with sessions focused on evolutionary perspectives on human behaviour, palaeoanthropology, and a session focused on bioarchaeology and forensic anthropology.  For any abstracts outside of these disciplines topic wise there is also the normal open session.  I can see that the guest speakers confirmed include Clark Spencer Larsen, from Ohio State University, a great researcher who has produced research and publications of great importance in bioarchaeology.  I attended last year’s BABAO conference, which was held at the University of Sheffield, and I thoroughly enjoyed it; the quiz being a particular highlight!  Unfortunately I won’t be able to go this year due to a holiday clash (I’ll hopefully be half a world away if my skeleton plays ball).

If there are any other human osteology, or bioarchaeology, focused short courses coming up in the United Kingdom please do not hesitate to contact me and I’ll produce a new post.

Further Information

  • To apply and reserve a space for the Historic England-led Human Remains in Commercial Archaeology short course please see the Eventbrite page here.  It is free to attend, but spaces are likely to go fairly fast due to intense demand.
  • Check out the Facebook page for the Agestimation short course here.  Please be aware that the deadline to apply for the course is 9th May 2016, so apply before this to secure a place.

The Face of Academic Copyright & Sci-Hub: A Quick Look with Reference to the Open Access Button, Academia.edu and ResearchGate Sites

21 Mar

Over at Sauropod Vertebra Picture of the Week (SVPotW) there have been a number of posts recently discussing scholarly copyright with reference to recent media and general academic attention paid to the pirate site Sci-Hub, where any number of academic articles (47 million and counting) can be searched for, and read, for free.  The site is of great boon to people such as myself, who currently hold no ‘proper’ researcher status and lack academic affiliation (alongside the access to journals that goes along with that), and to pretty much everyone you can think of who isn’t involved firsthand with research itself or affiliated to an academic or scientific institution.  From politicians who implement international and national regulations and guidelines to families who want to learn more about a specific disease and health treatments, those individuals who want to make informed choices but find that knowledge and research is locked away behind paywalls each and every day unless you can afford to pay a substantial sum for access, or are a current university student or researcher and have validated affiliation.  Those higher education institutions themselves are, of course, paying heavily to maintain access to the journals for their students, researchers and staff members.

Lets not twist words though, Sci-Hub infringes copyright on a huge scale by illegally granting access to the articles it has access to.  This goes markedly against the grain of academic publishing, where normal publishing procedures include authors, the creators of the content and research, handing over scholarly copyright (and sometimes even money!) to the publisher as part and parcel of publicizing their work to the wider academic community.  It is also a world where paywalls are de rigueur across access to many articles published online in academic journals.  (This is, as SVPotW points out, the opposite of creative copyright where the author of the work generally retains copyright).  Access to both full journals and individual articles can be costly, as are annual subscriptions to such material.  Academic book publications, both single authored and edited volumes, are also noticeably expensive, prohibitively so to individuals who are merely interested in reading about a subject in greater depth and to students who receive little public or private funding.

But since this is a blog primarily interested in archaeology and human skeletal remains from the past, let us first take a look at a few bioarchaeological examples to see how much it can cost to access knowledge within the discipline. Afterwards I’ll discuss some options available for both the reader and researcher of such material with regards to accessing and producing the material.

To Buy or Not to Buy: A Bioarchaeology Example

A book I have recommended on this site for budding bioarchaeologists, The Routledge Handbook of the Bioarchaeology of Human Conflict (ed. by Knusel, C. & Smith, M. 2013, published by Routledge), costs £150.00 in hardback or £142.50 for a Kindle e-book (who needs good quality images!).  Another book I have mentioned on this site, and which I do heartily recommend, is Bioarchaeology: An Integrated Approach to Working with Human Remains (by Martin, D. L., Harrod, R. P. & Pérez, V. R. 2014, published by Springer) which, in hardback, retails for £84.53, paperback for £36.99, and in Kindle e-book form for £35.14.  All of these prices are taken from a popular online source of cheap books.  They are not cheap.  They are even more expensive on the publishers’ homepage (again, for example, the Bioarchaeology: An Integrated Approach publication retails for £117.00 on Springer’s own site for both hardcover and paperback volumes, or you can purchase individual chapters for £23.94).

Life at the Trowels Edge: Archaeology as Employment

It is a notorious joke that archaeology, as a commercial sector and as a profession, can be poorly paid compared to similar skilled sectors even though the staff are often highly educated and indeed highly skilled.  It is worth checking out Doug’s Archaeology entry on British Archaeology Jobs 2014-15 for a glimpse of the bounties that await those who dig, analyse or plan for a living, but remember this is before any consideration is made on the physical and mental toll that life as an archaeologist can take on a person over time.  (On a related side, currently archaeology isn’t very diverse either).

Although the archaeology commercial and academic sector is the target audience for such specialized publications, academic books (minus popular archaeology books) and journal articles can be, and are often are, prohibitively expensive to a large proportion of its core audience, as exampled above.  There are of course exceptions to this, but they are rare for seriously detailed archaeology publications.  The below (Figure 1 & 2) is something which I find frankly ridiculous and leads me to wonder if anyone buys an academic article from the publisher themselves, or whether the paywall is just there to part the fool from their money?

book review 31 50 dollars

Figure 1. To access this book review of Barrett & Armelagos’s  (2013) An Unnatural History of Emerging Infections on the International Journal of Palaeopathology’s (IJPP) journal site costs $31.50 (£22.26) for a one time download of the article. (Click to enlarge the image).

book book

Figure 2. To buy a firsthand copy of the An Unnatural History of Emerging Infections book online (with free international postage) it costs $27.15 (£19.99), a saving of $4.25 (£3.06) on accessing and reading the book review if you were not subscribed to the International Journal of Palaeopathology (or a member of the Palaeopathology Association for $65.00/£45.94 for a years subscription, which includes access to the IJPP). (Click to enlarge the image).

So, what are some of the options available for the reader and for the researcher who want to use, access and contribute to making knowledge open access? And what is open access any-how?

Open Access: Bits and Pieces

A relatively new movement, generally titled under the Open Access (OA) term, has been slowly building across the globe since the coalescence of its origins across a number of public statements and conferences from various academic and institution organisations that were made in 2002-2003 (see OA history here).  Generally speaking, the open access movement sees the paywalling of research as a major international problem as many researchers and non-researchers believe intellectual knowledge, and the information generated from scientific research (which can often be funded by taxpayer money via distributive research councils) more generally, should not be copyrighted and should be openly disseminated as a matter of course.  This involves both unrestricted access and unrestricted reuse.  I’ve stated that the movement, as academics would largely recognize the ‘Open Access’ movement, started in the early years of the 21st century yet it is also well-known that there have been various discipline, or research specific, open access track routes open for a good number of decades now.

What we have seen within the past few decades is a growth in the general international understanding of what open access is and what its general aims are.  With a number of major research journals (see a few paragraphs below) opening up their archives and making some of their current journal content open access, we are seeing a movement that has had influence on major publishers of research and influence on the researchers who both write and choose where to publish their research and how to publish it.  Not all research is capable of being openly published due to a number of reasons (again, some outlined below), but a general move towards the ability to freely access that information has taken hold within the digital age.  This is not without precedent or without congruence within digital media and the issues of access to that material – one only has to look at the damage that illegally downloading music and films has done, and continues to do, to those areas. (There is a handy metaphor here with the online music content providers of Tidal, Deezer or Youtube providing varying models of access – pick your poison!).  However innovation and invigoration can drive change within seemingly disparate media formats.

Open Access Button

From its launch in November 2013 the Open Access Button is an application aimed at enabling the public, students and researchers access to scholarly research and to report it when the research is blocked by a paywall.  The brainchild of Joseph McArthur and David Carroll, the Open Access Button aims to highlight to users were paywalled research may be legally available elsewhere on the web and also lets users report which articles are not free and for what purpose the individual wanted to access the paper (Figure 3).

Open access Button

Figure 3. The three stages of the Open Access Button and how it works. The button aims to promote the use of access to academic research across the globe. Image screenshot taken from website here. (Click to enlarge the image).

It really is that simple but this little button has been a fantastic addition to my own internet browser for when I cannot access research and I really do recommend its use.  The makers of the button, and the largely voluntary team that help keep it running, state that it is not a long-term solution and support advocacy to help promote the issues that open access faces within the academic and business worlds.

Academia & ResearchGate

There are also the social media sites available for scientists and researchers to join, in which the general public can also join or view research articles on.  Two of the most prominent and widely used are the United States based Academia.edu and the German based ResearchGate sites, both of which launched online in 2008 and which offer free access to researchers profiles where book chapters, articles, theses and dissertations can be uploaded, viewed and downloaded by the sites users.  Both sites are free to join and are geared towards similar audiences, including academic and corporate researchers and the larger medical world.  Academia boasts a total of 34 million plus academics using its website (as of March 2016) whilst ResearchGate has a user base of around 9 million plus (again March 2016).  Academia hosts more than 10 million plus scientific papers whilst according to the business fact sheet ResearchGate host 81 million plus publications.

It should be noted here that these sites operate as great content providers of published and non-published academic research, however not each title is necessarily uploaded as anyone who has had the frustrating feeling of finding a dream paper only to find the author hasn’t uploaded it will recall.  (Papers can be handily requested from the author themselves however).  The sites are also fairly great at leveling the playing field of being able to distribute unpublished research from relatively junior researchers, especially of theses and undergraduate/postgraduate dissertations, or the work of independent researchers.

As a pair the sites seek to distribute knowledge of scientific research and aim to help users of the sites to create research networks across the globe, which increase the spread and depth of knowledge.  Interestingly, although the Academia site ends in the .edu suffix it is not affiliated with any academic institution per se and instead receives a portion of its funding instead from venture capitalists or angel investors, just like ResearchGate, who invest in or provide financial backing for the company.

Returning to Sci-Hub & Digital Rights

Sci-Hub isn’t particularly a new site as such, nor has it moved into novel territory.  Rather it is both a symptom of the problem of academic publishing itself and it is a symptom of the greater role that digital media is playing in modern business practices, and the way that individuals and groups can circumvent both pre-digital and current business practices.  The issue of digital rights is an important issue to raise at this point, both in the specialized world that I am interested in (the discipline of bioarchaeology) and the wider world of how digital content and media is challenging traditional copyright law and the philosophical inquiry of intellectual ownership (not to mention testing the boundaries between the state and the individual).  Intellectual ownership is perhaps one of the most important points so far mentioned – lives across the globe are ruined due to the implementation of strict copyright laws in various countries, where individuals, such as Aaron Swartz and Diego Gomez, have been pursued by national agencies on account of sharing academic research in the public domain.

A part of this is the non-universal application of Digital rights management (DRM, sometimes labelled as copy protection) schemes which refer to access control technologies that are used to prevent the copyright infringement, modification and distribution of digital material and media formats (DVD’s, CD’s, e-books, etc.).  DRM controls are often used with academic publications or e-books where the reader is allowed a number of options to access paywalled research articles.  For example, the International Journal of Osteoarchaeology (Figure 4) offer a number of approaches to read research articles that it publishes on the journal homepage for those readers who do not have access to the journal via an educational institution.  The instant access options (see below) include the ability to rent the article for a set period of time, to being able to read it on a cloud system, or to download it as a PDF file and then being able to print and save it.

IjOA access

Figure 4. The instant access article options available to reader with no institution access, courtesy of the International Journal of Osteoarchaeology. The source of the screenshot can be found here. (Click to enlarge the image).

It is worth mentioning here that the majority of articles and e-books are widely available in the EPUB or PDF formats, including the bioarchaeology e-books mentioned at the beginning of this post, from journal websites directly and from more commercially-minded book sellers.  Shockingly it is well-known that e-books in particular can be stripped of their protective DRM status using Calibre and shared illegally (or at least against the licence of the copyright).  However, you may also just want to save a copy of the e-book that you have brought with your hard-earned money on more than one device.  Perhaps even more damningly e-books can be purchased on sites, such as Amazon, stripped of their DRM status, and returned to the seller for a refund of the original price whilst retaining a copy of the digital publication, essentially ripping off the merchant and publisher (and arguably the author(s) themselves).

A growing number of academic journals are including Gold or Green open access models as a standard means of accessing the research that they publish.  Most journals archive their articles as a matter of course and some are now offering free access to those archives after a set period of time has elapsed (often a number of years in order to make their business model work).  This should rightly be seen as a positive move towards more open research and data.

Brief Concluding Thoughts

In conclusion, I cannot in all seriousness offer any conclusion.  Academic publishing seems to me to be partly mad (for the researcher) and partly genius (for the actual publisher) (Figure 5).  Are sites such as Sci-Hub, Academia, ResearchGate, etc. a part of the solution?  Possibly, but I don’t think they are long-term solutions as such but they are vitally important cogs of the publishing machine, cogs that allow dissemination and access to the scientific and humanities research that is so often funded by public money.  It is also clear that there is a bafflingly broad range of payment methods for the honest purchaser of a research article – you really do have to shop around to find the best deal, if you are willing to pay an exorbitant price for a single article.

academic publishing 101

Figure 5. It can be hard to explain to family and friends the nature of academic publishing. When I announced that I was researching and writing a book chapter for a forthcoming bioarchaeology volume I was often asked how much I would be paid for this, either in an advance or as a percentage of the sales of the volume. I could only reply with a half grin at the thought of countless hours of my free time being spent on writing, and re-writing, the chapter for no monetary gain (the contract stipulates that, as an author of one of the chapters in the volume, I can purchase a copy of it with a 1/3 off – hooray! The book will be sold for around £80 or so in hardback form. Still, one of my dreams achieved. Image copyright courtesy of Kirsty Sedgman, source. (Click to enlarge the image).

But, what if you are an archaeological researcher and you want people to read what you have to say?  What if you want to reach a larger audience with your work because you think it is important, and you do not want it to sit behind a paywall in which only a relatively small number of people have access to it?

We, as researchers, can take a stand against the locking away of the research that we generate by targeting the method of delivery of the research itself.  We could pick journals that support open access (journals such as the peer-reviewed International Journal of Palaeopathology which supports open access in part, or peer-reviewed Internet Archaeology, which is fully open access, others such as PLoS advocate open access via the use of the Creative Commons by Attribution licence with the authors agreement).  We can directly sell or market our research to the public and to interested researchers (see a previous post on Stuart Rathbone’s new volume, where you get to decide how much you want to pay to the researcher and publisher directly).  We can take advantage of new digital media, such as blogs or producing videos, opening up grand new avenues of academic and public interaction.  We could do these things, and we could do more to make our research accessible for the benefit of (almost) everyone.

But there is a sting in the tail of this approach.  No one researcher, if they are seeking a long-term career in academia, can do this approach alone.  Researchers need publications in journals where impact factors can be measured, where influence can be scored, where importance can be ranked.  Certain strands of research may be covered by legally binding non-disclosure agreements within public spheres, or may be curtailed by the ethical demands of the nature of the research itself.  The very existence of intellectual and image copyright in the digital realm faces huge challenges with unaccredited digital reproductions and illegal downloads littering the net.  (For osteo enthusiasts I heavily recommend you check out and join the pertinent Digital Ethics in Osteology JISCMail group for the establishment of a working group for best practice guidelines).  On top of this academia, as many know, can itself be relentlessly competitive which, together with the normal stresses and strains of a job which inhabits many roles under its terminology, can lead to rapid burnout through sheer exhaustion and financial worries.  What we publish and where we publish is but one factor facing the life of a researcher and sometimes we cannot control who has access to what, where, when, or why.

Further Information

  • The Open Access Button site can be found here.  Simply follow the instructions and add the plugin to your browser page.  Each time you come across a blocked, or pay walled, research article click the button to let the Open Access Button community know about it and have the site information indexed.  The button will suggest other possible accessible routes for the article, as well as alerting the community to your need to access the research. The data that you enter into the plugin, such as the reason for accessing the article and the location you are based in when doing so, will go towards helping build a global interactive map documenting the problems accessing research.
  • The Sci-Hub site can be found here.  Sci-Hub aims to eliminate all boundaries that stand in the way of accessing scientific research.  According to the website Sci-Hub has 47 million papers in its library and that number is set to grow.  Please be aware however that the site address may change or be mirrored elsewhere around the web, so it is recommended that a search engine is used to locate the current iteration of Sci-Hub.
  • The venerable social media sites for academics and researchers, Academia.edu and ResearchGate, are sites where individual researcher profiles can be created and where articles, book chapters and conference presentations can be uploaded for public view.  This is, in research consent to publish lingo, an example of fair use of sharing scientific work between an academic community.  The sites let you set up a profile of your academic affiliations and research interests, which help to find other individuals interested in these areas and forge research relationships across the world.  (Or leads to you intently refreshing your own profile page in the hope of enticing more readers to view your much-maligned undergraduate dissertation).

A Personal Anthropology of Driving

12 Mar

As I shift the gear stick I can feel the muscles tensing and releasing in my left arm; I can also imagine the tendons moving smoothly under the flesh, like steel lift cables, as the contracting muscles react to the electric jolts shooting down the nervous pathways spread across the body.  Both of my legs work in tandem with my left arm to leverage the accelerator and clutch pedals in a fluid series of movements to change the engines gear, whilst the right arm keeps the steering wheel stable.  My eyes keep a steady lookout at the road ahead, alert to the changes around me and the weather before me as the grey clouds break and heavy raindrops start to splatter the windscreen.  A quick flick of my index finger switches the front wipers on.  My ears are primed to the sounds of passing engines or the screaming sirens of emergency vehicles.  Perceptibly, but just, I can feel my heart beat that much faster as my right foot presses down on the accelerator.  At a stretch I’d say it was beating in time to the song playing, but that may be poetic licence and an exaggeration…

~~~

Broken Bones: Convoluted as a Medical History

It has been just over  a year since I first started driving in a daily capacity after passing my driving test a few years ago.  It has been a long and somewhat patient journey to get to this stage.  I had passed the theory and practical tests almost two years beforehand, but a well-timed pathological fracture to the right tibia and fibula bones of the lower leg (as, when a tibia breaks, the fibula, acting as a supporting lateral strut to the larger and more robust tibia bone and connected to it by a tough fibrous tissue, also often fractures) kept me off the road for a good while after having just ordered a car for the first time.  After healing from this fracture, the third such transverse fracture for these two bones, I was again ready to hop in the car and onto the road but this time as a fully legit legal driver no longer in his training vehicle.  My body, however, had different ideas as I went on instead to fracture the right humerus bone of the upper arm in an accident shortly before receiving the said car, delaying once again my time to drive and the time on the tarmac.

As a direct result of these two separate fracture incidents I gained two new titanium plates as permanent (and palpable) bodily additions and welcomed, though somewhat initially delayed, doses of entinox and morphine to subdue the immediate pain from the fractures themselves.  After the initial throbbing pain of a fractured bone, which is enhanced by the muscle spasms and contractions that often accompany a break of a major limb bone, the pain starts to wear off to a gentle ache once the limb has been stabilized, protected and padded from any further movement or injury.  Where necessary the bone is reduced to the correct alignment.  The reduction of the bone can, without anesthetic, be as painful as initially fracturing the bone itself.  As indicated above my fractures were treated surgically to correct long-standing problems using metallic alloys fashioned into a sturdy plate screwed onto the bone, which help prevent stress shielding and allow the natural responsive dynamics of bone modelling to continue.  It should be stated here that fractures can also be treated conservatively with limb immobilization and pain relief given whilst the bone heals itself, if a good enough reduction and union can be carried out without the need for surgical intervention.

right humerus fracture 2014 july

Humerous triptych. Pre-surgical and post-surgical fixation with the use of a permanent titanium plate on the right humerus (upper arm) following the pathological fracture I sustained in an accident in July 2014. As a result of having McCune Albright Syndrome, and the associated Polyostotic Fibrous Dysplasia (PFD) disorder where bone tissue is replaced with a fibrous tissues, my skeletal system is weaker than normal with a higher bone cell turnover rate. Pathological lesions in the bone, which can already be naturally deformed in size and shape, can lead to fractures (so-called ‘ground glass’ visual which can be found on x-rays of PFD bone). If reproduced elsewhere please credit as appropriate and inform the author of this blog.

I said it was a long and patient journey because the majority of the time spent waiting to drive was spent silently healing, my head often buried in an article or a book whilst devouring coffee.  It took a long time for the two pieces of the bone shafts to become one again as the callus formed and bridged the fracture site, the woven bone that is initially laid down changing over time to lamellar, or mature, bone.  So much so that in some cases bone fracture sites can be completely remodeled with little noticeable sign of a historic break ever having taken place.  During this time I was shuttled from appointment to appointment as a passenger in my assigned vehicle, wondering what it was like to dictate the journey and the destination, what it was like to take control.

On Starting

You may think that I would be wary of driving due to the above described frailties that my body imposed on my life, but I was ready to go and ready to face the roads of my country.  I was, and remain, eager to explore the freedom of the road alongside the exploration of the idea that that freedom represents in itself .  Many of my friends had started driving at 17 or 18 years old, had passed their tests and then drove aimlessly to gain experience on the roads around the regional towns, only to abandon their cars as they themselves started undergraduate courses at universities in other towns and other cities across the country.  Running a car, and having the money to fund the fuel bill, insurance, road tax and other associated costs, was an expense that many didn’t have and didn’t need at that time in their lives.

I too had started to learn to drive at that age but I soon gave it up, frustrated at the confusing methods used by the teacher and wary of the upcoming femoral fixation surgeries that I faced at that time to limit what appeared to be regular interruptions of forced stillness in my life.  I was happy to ignore the need to drive for another decade or so, not needing to do it for my undergraduate and postgraduate university courses and happy to use the trains and other methods of public transport for work and pleasure.  Indeed I came to love the numerous hours spent commuting to volunteer placements, work, and journeys to see friends and old companions.  It was time to relax, to speak to other passengers, to sit and to read or simply to sit and to stare at the countyside unfolding before me.

As every driver informs every non-driver, the convenience of the car is the epitome of freedom over the strict timetable of public transport.  As an ardent user and lover of the train (the misery of the delay is trumped by the friends made in the carriage and by the regulars who recognize you in turn), I remained somewhat skeptical of this claim.  What I had not counted on, however, was how it actually felt to have that freedom when I drove myself, both for my own pleasure and as a matter of commuting to and from my workplace.  There have been times when I am driving down an empty flyover at 1am with the twinkle of the industrial north to my right and the disappearance of the work office behind me and, as the song I’m listening to reaches its crescendo, I feel somewhat at peace with the world around me.  This is of course the thrill of riding an empty road listening to your favorite music and soaking in every last note sounded and vocal moaned.  But driving with a crowd is different, but it is different for me in particular.

To Drive, To Think

The car, for me, and the act of driving the car, means that I can merge in with the public body at large in a seemingly innocuous manner.  When I walk I use crutches for short distances and, for longer distances, I need and use a manual wheelchair.  As such it is an obvious difference that is noticed immediately on sight, one which signifies that I am different in some significant way from the majority.  I have had, and continue to have, people treat me differently in ways that they would not my friends or family, say by speaking to someone other than to me even when it is I who have raised the question or query, or by treating me in such a way which invokes past experiences of relatives or loved ones in states of profound impairment, despite the fact that my experiences and needs are different; that is in such cases my personal agency as an actor, or individual, with my own views, worries and questions, is abated.  I am viewed as a representative, therefore I am not an individual.  There is no such differentiation between specialized, or adapted, vehicles for the physically impaired, or disabled, individuals on the road compared with ‘normal’ cars – we all flow into the same lane or road.  (The caveat here is, of course, parking bays where disabled bays, alongside mother and child bays, are given proximity priority but I am strictly talking of when the car is in motion).

As such I am intrigued by the possibility of me in the car being treated in a similar manner as to everyone else who is present on the road.  That our actions speak for themselves, rather than the prejudices present on seeing the physical self as a first judgement.

I’ve briefly touched on my own experiences here and a few ideas above, but I want to move forward to acknowledge a few thoughts that have swirled around my mind over the past year or so on the open road.  I have become somewhat intrigued by the notion of driving, and the path of the road, as a cultural symbol and as a personal experience.  As such the following are thoughts, somewhat vague in nature, of driving.

A Marker By The Side

During the first six months of my experience as a driver I passed a personal marker on the road to work, a curve in the dual carriageway where a silent, single fluttering jersey indicated a geographical spot where a young life had been cut short, the car skidding from the road late at night killing one of its two occupants.  The jersey by the side of the road aptly demonstrated both the family’s singular pain and the danger of driving without due regard for the road conditions, a memento of the often tumult path of life.  It acted as a constant reminder for me then, when I saw it throughout the different seasons of the year, and I remember it clearly now in my mind’s eye.  It is easy to be self-contained in a car if you are driving alone, thinking only of yourself and not of the actions that you yourself have on others and those around you.  That the road is open and easy to see.  Yet drivers, especially of cars, can be subdued too easily by the sheltering in the cage of metal and glass.  Too easy it is to shut out both the weather and the sound of the road, too easy to become disconnected from what is in front, to the side, and behind.  Death is the ultimate outcome of driving dangerously or incorrectly, each person who drives should understand that they are both responsible for themselves, any passengers, and for the safety of those of who the car comes near, be it other vehicle drivers or pedestrians.

A friend who rides a motorcycle near year-round has spoken of their wish that each person who learns to drive does so first on a motorbike, where every second must be concerned, and concentrated with, the movement of your bike and your body, where the dangers in the driving blind spot become that much more pronounced as there is no clear boundary or distinction between the body and the tarmac.  It is an interesting idea, I think, and it shows that although the majority of the road users in most countries are car and truck drivers there are different experiences of using the road out there.  That even though we may be all drivers, we do not each experience the same sense of driving or the same sense of security from the vehicles we choose to use to get from A to B.  It is my suggestion that this is the experience of the other in this environment, the one that car and truck drivers must take extra special care for motorcyclists (as well as cyclists) due to the physical differences in the size of the vehicle and the position of the body on top of the vehicle, rather than the notion of what it feels like to be on the inside of it.

Thoughts on Interior vs Exterior

However, within the confines of my personal anthropology of driving, there is also a need to define the personal space within the interior of the car and the exterior public face of the vehicle, i.e. the personalization of the interior as a representation of the identity versus the need to drive responsibly and react accordingly to the changes in weather, traffic density and normal, or exceptional, road hazards.

We have all, for instance, seen the personalized number plates or stickers attached to the exterior surface of cars, or the use of rosary beads dangling from the rear view mirror, possibly signifying a religious connection to Catholicism or perhaps simply a physical item in which to grab and to hold, to reassure and to connect.  These are markers of expressed individual and group identity through the modified material culture of the car, which could be symbolic of the beliefs of the individual and, possibly, an indicator of the nature of their personality, although there must also be a distinction between these leaps and not infer beyond the unreasonable.  These do of course differ dependent on the circumstances.  The cliché of a boy impressing a girl by driving fast is indicative of the use of the vehicle to express dominance or perceived masculinity and not the expression of the material culture of the individual within the car.  There are, as such, different signifiers at work when we consider the expression of identity with regards to vehicle ownership and use (see photograph below).

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‘Warning: if you value your life as much as I value this truck don’t mess with it!’. Seen in San Francisco in April 2015. Photograph, taken with a digital camera, by the author. If used elsewhere please credit as appropriate.

So what is in my car?  You can expect to find the odd physio stretching band, placed in the car from before I started to drive so I could exercise the muscles of the right arm on the way to and from work, to regain the majority of the extension of the antebrachium back.  (I have permanently lost the ability to fully extend my arm due to the somewhat intimidating and unnerving bend of the right humerus – it isn’t immediately noticeable, the bend, but when I point it out in person you may be surprised and somewhat horrified at what once was and now what is).  Look into the main storage box and you’ll find a whole heap of CD’s covering a fairly wide range of genres and musical styles, from the cut and thrust of Fugazi‘s 13 Songs to the emotional tape loops of Steve Reich‘s Different Trains and Guitar Counterpoint.  You could probably tell that the CD medium is the one in which I invest the most in for music listening just via the car haul of discs themselves.  I’m forever rotating my classic selection of favoured CD’s with new albums I’ve purchased more recently, such as Joanna Newsom‘s Divers, Godspeed You! Black Emperor‘s Asunder, Sweet and Other Distress, or Sufjan Steven‘s hauntingly beautiful Carrie and Lowell album.  The car, now, has become one of my prime personal music venues, enhanced by the visuals on the road and the acuity of speaker-to-body distance.  The drive to and from work allows for the almost total immersion of sound to radiate around me, to envelope the body and invigorate the mind as I drive.

The expression of music is carried on in the material contents of the car by three or four worn drumsticks perched precariously in the front chair’s backseat pocket.  The drum sticks head and necks are pretty worn away, indicative of their active life beating the various tom toms, snares, and high hats of drum kits across the rehearsal and practice rooms of my home town.  If you dig a bit deeper it is quite possible you may find a roll of film (now I’m really harking back to pre-digital technology!), indicative of the ownership of my beloved cheap Pentax camera, which sometimes finds a temporary home in the car for when I am out and about; it is sometimes paired with my cheaper-still digital camera.  Nestled in the front passenger seat is a battered copy of Will Self’s experimental novel Shark, a copy of which I convince myself I will finish one day.  (Regardless of the growing stack of novels and non-fiction books that mount beside my bed.  Karl Ove Knausgård’s Min Kamp circle of books has taken my recent fancy as well as Janine Di Giovanni‘s more somber documentation of Syria’s ongoing destruction in her book The Morning They Came For Us: Dispatches from Syria).  It is, I think, also an expression of the need to read in down times, where I find myself waiting for one reason or another.

So these are the two big things you may notice in my car – music and books, but what does the car and the road say about us from a non-individual status?  What laws do we follow and why, what are the roads laid out before us and why do we subscribe to a set of nationally, and internationally, prescribed laws?

State Expression

As such it could be highlighted here that the need to observe the rules of the road are, essentially, laid in law by whichever, or whoever, is in control of the land itself.  That is, the road, and the population who drive on that road, are obeying the rules in a manner prescribed by the ruling power and as such act in that way.  This could be a potentially reductionist approach to understanding how countries or cultures approach driving and the road network, however it is also an intriguing area of interest.  Allow me to expound briefly on the above point.  The expression of the state is manifested by the obligation of the driver to obey the rule of the law on the road, whilst the interior environment of the car allows for a personal reflection of the identity via its material culture.  Aligned to this are group identities expressed in this way – they can be cultural, religious, personal, or idiosyncratic in nature.  We’ll take a very quick global tour to explore some of this expressions of individuality within group expression.  I’ll also highlight some of the cultural restrictions placed on car drivers in different countries as it can be easy to think that each country’s laws are similar to one another, but cultural restrictions play an important part in this as a projection of the country’s laws and beliefs.

Road Changes & Cultural Restrictions

Road space rationing is the term used to describe the strategy to limit road users using particular methods of restriction.  These can include methods such as no-drive days, alternate day travel, and general restrictions on road access.  The strategies are used globally as temporary or permanent measures to decrease vehicle use and environmental impact, largely in major cities but also with increasing use in major industrial countries such as China and India.  A similar method to this is the use of car-sharing lanes where privileged road, or lane, access is given to cars containing more than one person as an incentive to cut single person travelling.

In London, England, the permanent Congestion Charge Zone was introduced in 2003 to combat the growing number of vehicles entering the center of the capital city, as a means of cutting down environmental damage and of limiting the sheer volume of traffic.  Bikes, and notorious Boris Bikes, have been particularly targeted as the green and safe way to travel within the city center alongside the extensive public transportation routes.  Transport for London (TfL) have stated that there has been a 10% reduction in vehicle traffic in the decade since the introduction of the congestion charge, which has found favor with a number of residents of the city.  In the capital of France, Paris, a temporary scheme whereby owners of cars with odd or even number plates were not allowed into the city on that particular day or days was in place during a particularly polluted period in 2014.  Temporary measures such as this are largely aimed at immediately cutting smog that threatens, or has, blanketed the city in question.

Other methods include closing down particular routes or roads during particular days.  In São Paulo, Brasil’s biggest city, a normally packed 3.5 km section of the Minhocão highway (nicknamed ‘the Big Worm’) is returned for the use of pedestrians and cyclists only each weekday evening, Saturday afternoons and full Sundays during the summer period.  Whilst Minhocão has been partially closed to vehicles for 26 years, there has been a new movement to close down Avenida Paulista in the city on Sundays as well.  The schemes in São Paulo is used as an urban reclamation of roads, or transportation routes, as a matter to regain urban walkways and increase the use of public transportation and finds similarities with a number of schemes across the globe.  For instance in New York City, USA, the reclamation of the 1.45 km long High Line, an old railroad renovated as an elevated walkway festooned with shrubbery, has seen it become a major attraction within the city itself in its own right.

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The car can become symbolic as in this case where it is the icon of a city forever on the move. The New York taxi is one such symbol and if encountered on its home turf is often accompanied by an incessant honking of the horn and the permanent background noise of a thousand ticking engines running over, forever stopping and starting. Photograph, on a digital camera, by the author. If used elsewhere please credit the author as appropriate.

New York City is both famous and infamous for its classic yellow cabs that litter the city.  To any driver from Europe, the roads of American cities can present a challenge as American cities are often built on the grid pattern, much like the ‘new city’ of Milton Keynes in the United Kingdom.  In such a busy and compacted city as New York this invariably means that the traffic never truly gets a chance to flow due to the traffic lights at each and every corner dictating who goes where when.  On a visit to the city that I was lucky enough to have last year I couldn’t help but notice the truly gigantic sounding board that the multi-storied buildings of Manhattan presented as the taxi drivers and drivers throughout the city incessantly honked their horn.  It surprised me, but also moved me in a way I had not expected – I was in the city of the movies, arguably the heart of the country itself in all of its architectural splendor and Freudian intimidation alongside the metaphorical American Dream representations.

As I come to the conclusion of this post I have presented a quick introduction to some of my thoughts, rounding down to international approaches to do with the increase in the number of the drivers and the damage wrought by diesel and petrol hungry engines in city centers, not to mention the natural environment.  Yet there is much more that I feel I ought to write, I haven’t touched on the interesting subculture of young male drivers in the kingdom of Saudi Arabia in which steam is let off by drifting (or Tafheet) and other associated vehicular activities, not the mention the incredibly strict restrictions placed on females in the country (females are forbidden from driving, although this is not illegal per se, it is heavily policed with punishments handed out for females caught driving).  Nor have I mentioned the fascinating subculture of bōsōzoku in Japan, which centers around the customization of cars and motorcycles.

The post describing these subcultures can perhaps wait for another day as this post has reached a fairly substantial length already.

Disengaging the Engine

So those are my brief thoughts on a personal anthropology of driving with a few nods to international views and explorations.  Nothing substantial, just a brief overlay of ideas that percolate through my brain as I slip on my seat belt, engage the engine and accelerate away onto the tarmac before me and into the night ahead of me.

Influences & Further Reading

BBC & British Library Sound Archive. 2015. Noise: A Human History. An Ever Noisier World. Episode 29 of 30. BBC Radio 4.

Martin, D. L., Harrod, R. P. & Pérez, V. R. 2014. Bioarchaeology: An Integrated Approach to Working with Human Remains. New York: Springer.

Robb, P. 2005. A Death In Brazil: A Book of Omissions. London: Bloomsbury Publishing.

Lose Yourself (In Mud): An Annotated Guide to the Archaeologists Rap

9 Feb

The following post presents a hopefully humorous lyrical remix of Eminem’s hit Lose Yourself, a rap song released in 2002 on the soundtrack of the film 8 Mile.  8 Mile is an autobiographical film based on the early life of the rapper Eminem (real name Marshall Mathers III), who also plays the lead character in 8 Mile.  The film chronicles the early struggles he had to break into the world of rapping, alongside the growth and development of his unique style among the underground ‘rap battles’ where reputations are forged and broken.  A significant character in the film is the setting itself, the old economic powerhouse city of Detroit, in Michigan, USA, which, following the collapse of some of its major motor industry, helps forge the identity and background of the characters in the film.  The ‘8 Mile’ of the film title refers to the 8 Mile Road (part of the M-102 highway) in Detroit, which bisects different suburbs of Detroit and is home to the main character, and is used in this instance to typically refer to the split between the economic and racial divide on each side of the road.  The original song is linked via a Youtube video below, so please do familiarize yourself with the flow of the original rap and then take a read through my light-hearted lyrical remix.  Although an attempt at archaeological humour, this post none-the-less raises some pertinent issues facing the archaeological researcher and excavator.

Source Material

Eminem’s song Lose Yourself can be found on the soundtrack to his autobiographical film 8 Mile, both of which were released in 2002.  No copyright infringement is intended and the original lyrics remain the property and copyright of their owners.  The basis for the lyrics of the original song used below have been taken from the AZLyrics website, see the version I used here.  This remix is only intended for educational purposes on the life of the archaeologist.  The video to the song can be found below (please be aware that there is some strong language in the song):

Lose Yourself (In Mud): A Rap Remix

– Intro –

‘Look, if you had, one trowel and one context sheet,
To record everything you ever wanted in one excavation or stratigraphy (1),
Would you capture it, or just let it slip?
Yo…’

Verse 1

‘His palms are sweaty, knees weak, diggers arms heavy (2),
There’s vomit on his hi-vis already (3): mom’s spaghetti,
He’s nervous, but on the surface he looks calm and ready,
To drop GPS points but he keeps on forgetting,
What he wrote down, the whole road crew goes so loud,
He opens his mouth but the words won’t come out,
He’s choking, how? Everybody’s joking now (4),
The digger’s getting closer, time’s up, over – diesel wow!
Snap back to reality, oh, there goes the ground,
Oh, there goes safety helmet, he choked, he’s so mad but he won’t,
Give up that easy nope, he won’t have it, he knows
His whole back’s to these trenches, it don’t matter, he’s gonna cope,
He knows that, but he’s bone broke (5), he’s so stagnant, he knows
When he goes back to this temporary site home, that’s when it’s
Back to the field again, yo, this whole rhapsody,
He better go record this context and hope it don’t pass him.’

Chorus/Hook

‘You better lose yourself in the field, the moment,
You dig it, you better never let it go (go)
You only get one shot, do not miss your chance to record,
This context comes once in a lifetime (yo)
‘You better lose yourself in the field, the moment,
You dig it, you better never let it go (go),
You only get one shot, do not miss your chance to sketch the trench,
This context comes once in a lifetime (yo).
(You better).’

Verse 2

‘The soil’s escaping, through this bucket that is gaping,
This Iron Age world is mine for the taking,
Make me a tribal king, as we move towards a Roman world order (6),
A field life is boring, but superstardom’s close to post-excavation (7),
It only grows harder, co-workers grow rowdier,
He drinks. It’s all over. These back-hoes is all on him,
Coast to coast shows, he’s known as the globetrotter (8),
Lonely digs, God only knows,
He’s grown farther from the department, he’s no researcher,
He goes home and barely knows his own publication record (9),
But hold your nose ’cause here goes the cold water,
His back-hoes (and other associated fieldwork tools) don’t want him no more, he’s ex-excavator
They moved on to the next fully-funded dig,
He nose dove and sold nothing of his previous book,
So the soap opera is told and unfolds,
I suppose it’s old partner, but the troweling goes on,
Da da dum da dum da da da da…’

(Back to Chorus/Hook)

Verse 3

‘No more minimum wage, I’m a change what you call pay raise,
Tear this mothertrucking tarp off like two dogs caged,
I was back-filling in the beginning (10), the mood all changed,
I’ve been chewed up and spit out and booed off site,
But I kept recording and stepped right into the next minivan,
Best believe somebody’s playing the repeat record,
All the pain inside amplified by the,
Fact that I can’t get by with my 7 to 5,
And I can’t provide the right type of life for my family,
‘Cause man, these muddy boots don’t provide no good loots (11),
And it’s no Indiana movie, there’s no Jane Buikstra (12), this is my life
And these times are so hard, and it’s getting even harder
Trying to feed and water my underfunded project, plus
Teeter totter caught up between being a teacher and a part-time researcher,
Baby, student’s drama screaming on at me,
Too much for me to wanna stay in one spot (13),
Another day of digging’s gotten me to the point,
I’m like an arthritic snail,
I’ve got to formulate a theory, a methodology or an application,
Single context recording is my only archaeological option, failure’s not,
Site leader, I love you, but this trailer’s got to go,
I cannot grow old in Parker Pearson’s lot (14),
So here I go it’s my shot.
Feet, fail me not,
This may be the only excavation that I got.’

(Back to Chorus/Hook)

Ending

‘You can do anything you set your mind to, archaeologist…’ *raises trowel in solidarity as camera pans away and music fades*

Archaeological Annotations

1.  Archaeological excavation is a fundamentally destructive process, therefore it is of the utmost imperative to record exactly what is uncovered, where and when.  Each stratigraphic horizon within an archaeological dig (the boundaries between different contexts, which can be either man-made or natural) are generally recorded to build up a site activity profile.  Features within the stratigraphic contexts, such as cuts or fills, are also recorded and excavated, with special notice given to structural or material remains found within the discrete horizons.

2.  Commercial field archaeology is not a physically easy job – it is also a demanding, time-consuming and pressurized job due to a number of variables.  These can be, but are not limited, the time allowed in which to excavate as set out by the conditions of construction, the weather, the travel involved to-and-from site, the temperament of the your co-workers, the physical and mental capabilities of your own body, the constant social re-scheduling due to upcoming site unpredictability, the long-term job insecurity, etc.  If you see an archaeologist in the pub, or out excavating, be sure to buy them a pint or a clap them at a job well done.  They’ll love it and remember that the public don’t think that archaeology is all about the gung-ho, ethics destroying, human remains violating, probable national law-breaking, relic selling, macho aggression exploits of Nazi War Diggers (or Battlefield Archaeology, for the UK readers), which shows the profession in a context-obliterating style.

3.  Safety is of paramount importance on-site.  Be aware of your escape routes.  Watch out for heavy machinery.  Wear a hard hat if needed.  Shore up that trench if you are going deep.  Get certified with the Construction Skills Certification Scheme White Card, or comparative scheme, which certifies the basic safety skills for archaeological field technicians.  See the incredibly helpful British Archaeological Jobs Resource guide on the White CSCS card here.

4.  Archaeologists often work side-by-side with the construction industry; it is why archaeology took such a hit both in the localised Celtic Tiger boom and bust in Ireland, for example, and in the global recession of 2008.  If there isn’t any construction going on, there aren’t going to be many excavations going on either.  (Though try telling that to the academic departments who excavate at will).

5.  Bone Broke, by bioarchaeologist PhD candidate Jess Beck, is one heck of a site to learn about the joys of human osteology.  Check it out now.

6.  The pesky rise of the Romans helped spell the end of many Iron Age cultures throughout Europe as the Roman republic (which later mutated into an Empire) battled, amalgamated or integrated their way of life with their barbarian neighbours.

7.  First you freeze in the field, then you freeze in the cold artefact storeroom.

8.  Archaeology, as a profession, offers many, many chances to travel the world and to dig at sites that span the length and breadth of human evolution.  If you are a student, or volunteer archaeologist, you too can check out the many options available to you.

9.  ‘Publish or be damned’ is a normal phrase in archaeology, despite the distinct lack of monetary incentive on behalf of the main academic publishers.  If an archaeological site is excavated, but not published at all, that can lead to the distinct loss of knowledge of that site from the archaeological record (!).  If you care about the archaeological record, get the findings of the dig written up, the specialist material unearthed and analysed properly, and then get it published for the whole world to know about and rejoice in.  You may regret the lack of money in your wallet, but that sense of satisfaction out-weights those empty pockets (hopefully).

10.  The back-filling of a trench is carried out once the archaeological site has been properly excavated and recorded as much as necessary, or is able to be.  Back-filling involves moving the soil from space to another, which is a fine description of archaeological excavation itself.  The tower of backfill is also a place where unlikely, but lucky, finds can be found stripped of their context.

11.  Contrary to the general public perception of archaeology excavations being full of characters in the mould of Dr Indiana Jones this is somewhat gladly not the case.  (Though you will, inevitability, find one or two first year archaeology students ‘ironically’ dressed up as Indiana in the first week or so of the course).  At best though Dr Jones is a looter and archaeologists never loot – we record like our lives depend on it, imagining that if we don’t record the archaeological sites we survey and excavate the giant rolling rock will (rightly) chase us down and flatten us where we stand.

12.  Prof. Jane Buikstra (Arizona State University) is one of the core founders of bioarchaeology (the study of the human skeleton and mummified tissue from archaeological contexts) as a discipline in its own right within the United States.  Buikstra, along with other early bioarchaeology researchers, has helped to set the gold standard for skeletal analysis and she continues to be a dynamic force within the discipline.

13.  Short term adjunct professor contracts in the United States and general short-term teaching contracts in the UK, alongside the general vagabond lifestyle of the field archaeologist, make being a professional archaeologist adept at moving completely at short notice.  Fieldwork is also notoriously underpaid considering how educated the workforce is in comparison to other skilled workforces.  The British Archaeological Jobs Resource is helping to try to curb that by launching the More Than Minima campaign in its advertising of job posts.  See the 15/16 Pay and Conditions document here, which set out a useful recommendation for the companies offering commercial archaeology jobs.

14.  Mike Parker Pearson (University College London) is a well-known prehistoric and funerary archaeologist, perhaps best known for researching and excavating the Wiltshire Neolithic and Bronze Age landscape in England, of which Stonehenge and Durrington Walls are one important part.  His 1999 Archaeology of Death and Burial book is a must for all budding bioarchaeologists.

Doug’s Blogging Carnival: The Grand Challenges for Your Archaeology

1 Feb

Doug Rocks-Macqueen (of Doug’s Archaeology) is running another awesome blogging carnival following the success of his 2013-2014 Blogging Archaeology carnival.  Check out the Open Access volume that the original Blogging Archaeology carnival spawned, with the dedicated work of Doug and Chris Webster as the editors.  You can also read my review of it here, which was recently published in the AP Journal of Public Archaeology.  Both are available for free for your perusal.

This time around the theme is kept to one question: What are the grand challenges facing your archaeology? Anyone can take part, so please feel free to join in and write an entry (or draw, film and dance an entry in) about what your grand challenges are that you are facing in archaeology.  It is a one-off event for January, and Doug will post the replies to his call out by February 1st 2016 (but I’m hoping there will be further editions of the blogging carnival as it is so good to see the archaeology bloggers communicate with each other).  So without further ado, let me crack on with my entry for the carnival…

grand challenges facing arch david mennear photography 2016 jan

Probably one of my favorite memorial statues which can be found in a cemetery near to where I currently live. Check out Howard Williams Archaeodeath blog entry on the defense of photography in graveyards and cemeteries to learn more about the value of the recorded image. Image credit: A detail of one of my own photographs taken using a Pentax S1a camera on black and white Ilford film, if reproduced please credit as appropriate.

Grand Challenges Facing My Archaeology

Last night I drove up the coast to a nearby city to watch a Pearl Jam cover band with a few friends.  At the gig itself I was deeply moved by the band’s vitality, by the intense connection between a band the audience loved and a band the tribute act so clearly adored as well, but it was in the act itself, of how the cover band so carefully and energetically replicated Pearl Jam, that so impressed me (it isn’t easy capturing Vedder’s powerful voice, but kudos to the singer!).  The energy of a live act is hard to catch on tape, certainly a few live albums have managed to bottle this magic, but not the physical intimacy, the energy that re-bounds between the audience and the act when they give a great performance.

Having had the pleasure of seeing the real Pearl Jam play in a much larger venue in Manchester half a decade ago or so, watching this tribute act in a much smaller venue felt more raw, almost more real.  It was, or so I imagine, what it must have been like seeing Pearl Jam play live before they released Ten, the crowd of a few hundred bodies moving in time to invisible beat and roaring their appreciation between songs.  There is something about live music, when it is plucked from the air in front of you, that moves me so intensely.  It is also something that I have pursued much more actively in viewing since the loss of a beloved friend last year.

As I write this the song State of Love and Trust blares out of my CD player (I know, quaint in this streaming age) and I can feel my feet tapping and my fingers itching to blast something out on the guitar.  Scenes of last night are popping into my head – the rhythm guitarist bouncing around on stage, the singer clasping his hands around the microphone, the adoration of the crowd after Black is played and the personal joy of hearing The Fixer live.

It is this idea of distance, in a temporal-geographic sense, that I suppose is one of my grand challenges facing my own archaeology.  Writing in front of a screen offers precious little human connectivity as the tips of my fingers press into the plastic keys and dance across the keyboard.  I have thought more than once of stopping this blog, to focus perhaps on something more creative instead.  Although the blog post rate has slowed down remarkably after the first initial year, the content of the posts now dip into a more varied and eclectic range of topics and voices.  (Honestly readers, the Skeletal Series will eventually be complete one day!).  I feel that these posts help form the core of the identity of the blog, whilst the standard upcoming short courses or conference posts keep readers (and me) linked into the discipline itself.

One of the challenges, for me then, is knowing when to disconnect and when to reconnect.  There will always be an audience of some kind out there, but there is a need (at least for me) to take time off and to rejuvenate and to think about why I blog in the first place.  I want to help capture that feeling of vitality, of spotting the links between the everyday and the bioarchaeological (something that many bioarchaeology and mortuary archaeology blogs do exceptionally well).  I first started blogging to consolidate my own information and to capture how I was slowly learning the nuts and bolts of human osteology as it applied to the archaeological record.  I also wanted to offer a framework of what it is that human osteologists and bioarchaeologists do and why.  As stated above, this has changed somewhat as I came to understand that I wouldn’t necessary ever have a career in this field and that it would (likely) remain a passion of mine.  (This could be another blog post entirely, but it is down to a few different reasons that are not insurmountable in-and-of themselves).

Holding Your Head Up High

The blog is however but one facet of my identity, but it is one I have fleshed out over the past few years.  To change direction suddenly or to not blog for a while can feel like I am, in some sense, betraying those who would most like me to write.  As such I feel a duty to sometimes produce content, without which I sometimes don’t have either the heart or the time (which is also why there are currently 12 posts lingering in draft hell…).  It is wise to clarify here that those are pressures solely forced on myself – I know I take a long time to produce a post, but bear with me.

This site has afforded me a multitude of adventures and opportunities I never would have had if I’d not taken the dive and started writing for the fun of it.  I’ve been asked to contribute a book chapter to a new and exciting volume, I’ve been asked to speak in a country on a different continent, and I’ve been asked to contribute reviews to new and upcoming journals.  However, as much as I’d love bioarchaeology to be my breadwinner it is not.  I work in a completely different sector to my passion (and it is my passion that has burned the coals for the ability to continue down this path).  The day job gives me that monetary security to pursue the writing of reviews or chapters, to take part in open days, to watch and learn at conferences, and to conduct my own osteological analyses and research.  There is, I hope, a positive takeaway point from this – you too can join in as I have.

There is one constant at These Bones of Mine and that is the trying to champion the voice of others on the site, either by guest posts, interviews or point-of-view style entries.  I see this site as one continuous conversation between my writings (and the various winding alleys that these thoughts slowly percolate into) and the readers who take the time and the effort to read the words.  But I also see it as an opportunity to give a platform to other researchers and part-time bioarchaeologists.  This shall hopefully continue and please do not hesitate to contact me, or to look over previous guest posts (and the guest post guidelines) for further information.

On a personal note I have noticed that, when I am able to fit the time in, I am much happier to be actually carrying out human osteological analysis, to collect the data and to produce the report, that I personally feel I am doing something constructive and worthwhile.  Perhaps it was a feeling I experienced recently precisely because I did not have the time to assign to it and when I did, it felt special and unique.

Moving Forward By Going Backwards

Before the Pearl Jam tribute act I had the pleasure of attending the Little Lives day-long conference at Durham University, catching up with friends and learning about the great new research in the study of human non-adults in bioarchaeology.  A great deal of thanks must really go to the organizing committee of the conference, PhD researchers Clare Hodson, Sophie Newman and Lauren Walther, for putting together a varied, vital and exciting program of speakers.  One of the most mentioned topics of research within the study of non-adults were the implications in bioarchaeology for the DOHaD concept (Developmental Origin of Health and Disease, as an outgrowth of Barker’s Hypothesis, based on work conducted 25 years ago which investigated fetal origins for adult diseases, particularly cardiac and metabolic disorders).  It gave me food for thought as I’m currently analysing a collection of Iron Age and Romano-British individuals which runs almost the full gamut of age-at-death, from likely neonates to old adults.

In a way the analysis has a lovely circular notion to it, as the individuals I’m analyzing are from one of the first archaeological sites that I had the pleasure of excavating at.  Perhaps my challenge isn’t so much geographic as temporal – I have stayed close to where I have lived a large portion of my life, but my mind flits with eager ease through the changes that this place has seen.  Sometimes that is enough.

blog

Seeing from the other side, live grows anew. Image credit: Photograph by the author using a Pentax S1a camera and Ilford black and white film. If reproduced please credit as appropriate.

Learn More

  • Check out Doug’s Archaeology, an awesome site that cuts through the sections of archaeology entry by entry.  Read the rather lovely 2014 Blogging Archaeology edited volume, for free, here.  Follow the links on Doug’s site to join in this blogging archaeology challenge.  Remember no entry is too short or too long, nor any entry too discursive in its topic or content.

‘Archaeological Boundaries: Discussions, Experiments and Unprovoked Attacks’ by Stuart Rathbone, Out Now

28 Jan

Regular readers of this blog will know that I’ve hosted a few guest posts and an interview with Stuart Rathbone, a friend and an archaeologist who has worked across the UK, Ireland, and the United States of America, and that his posts are always thought-provoking and informative.  I’m very happy to announce on this site that Stuart has now released a new book of essays digitally published by The Oculus Obscura Press (which is under the auspices of the awesome blogger and researcher Robert M Chapple) entitled Archaeological Boundaries: Discussions, Experiments and Unprovoked Attacks.

The publication is available from the LeanPub website, which offers the book for readers based on a sliding scale payment system which can range from zero to whatever sum the reader would like to give to Stuart for his hard work (the suggested price for this volume is US $18.99, but please feel free to pay as appropriate).

stubook

Investigating a treasure trove of archaeological issues. The cover to the volume of articles by Stuart Rathbone, which cover a number of issues and investigations in modern archaeological practice and research.  The issues are split into three main topics that the book focuses on, and include i) professional archaeology, ii) experimental archaeology, iii) and proper archaeology.

I’m really excited by this publication as Stuart is a thoughtful and innovative thinker and, as demonstrated in this volume, he skillfully integrates the archaeological evidence within contexts and approaches that aren’t always particularly widely studied within the research or academic arms of archaeology.  Thankfully we have the man himself to ask him a few questions regarding the book…

These Bones of Mine (TBOM):  Hi Stuart, thank you so much for joining me!  So can you tell us a little about your new book?

Stuart:  Hi David, thanks for having me back on your blog.  I love that I can legitimately say things to you like “I haven’t seen you since that time with the jazz band on Haight Ashbury” as if we were part of some decadent international jet set!  Funnily enough I do briefly mention the time we met up in the introduction to the new book, but I think I forget to mention that the mundane reason why we were hanging out in San Francisco was because of an archaeology conference!

My book is a collection of essays, some of which have appeared before in various places, and some of which are brand new pieces.  I think a little over half of the material is entirely new, whilst the older stuff has been given a good polish, adding in proper reference sections if they were previously absent, re-inserting parts that might originally have been omitted because of space constraints, or adding in new information that has become available since a piece was first published, bringing everything right up to date.

There’s a video where I describe the different subjects covered in the book so I won’t repeat all of that here, suffice to say the book is a mixture of different areas I have worked in; different aspects of prehistoric settlement, the organisation of the archaeological profession and the social consequences this may have for practitioners, and my attempts to explore new and unusual theoretical approaches. The scope probably goes a bit beyond what you’d normally expect to find in an academic collection.  I suppose there’s an emphasis on more personal pieces and more experimental pieces, although there are a few more traditional inclusions, just to balance things out a bit.

Working with Robert Chapple was great because he’s so open to new ideas.  I don’t think we could have put this collection out with a normal publisher, but Robert just said go for it, write what you want and we’ll see what we can do with it.  In fairness to him he did have to spend quite a lot of time keeping me on target, as I am prone to wandering off a bit if left to my own devices. We both really like the finished product, I guess it’s the sort of book we would enjoy reading ourselves.  So now we have the problem of trying to convince other people to read it.  The leanpub platform is great because it’s very simple to use and with the price slider it’s possible for people to get a free copy, pay the suggested price, or pay anything in between.

Something you said to me recently really struck a chord, that people are now simply overwhelmed by the amount of information that is freely available to them, and it’s hard to get their attention.

So right now we are trying to figure out how to convince people that they should download the book and devote their free time to reading it.  That was a responsibility that Robert and I were very aware of when we put the book together.  Just because we were enjoying ourselves the book still had to meet a professional standard, even if some of the content was a bit unorthodox.  I think we’ve done that although obviously it will be up to the people that read it to judge how successful we actually were.  We certainly did try though.  There’s quite a variety of topics so hopefully a lot of different readers could find something of interest to them, or that might at least keep them amused for a little while.

Learn More

  • Archaeological Boundaries. Discussions, Experiments and Unprovoked Attacks can be downloaded from Leanpub.com by following this link.

Further Information

  • Stuart has previously been interviewed for this blog (see View from the Trenches), where you can read about his archaeological life, from his experiences and views as a digger working in Ireland during the Celtic Tiger boom years, to excavating in northern Scotland and his adventures in writing about archaeological topics from a number of different perspectives.  Alternatively you can check out a previous guest post here, where Stuart marries the archaeological record with anarchist theory suggesting that a better understanding of the record can be achieved by taking elements from ideologies or theories little used in mainstream commercial and academic archaeology.
  • Check out Robert M Chapple’s blogging site for a treasure trove of insights into the archaeological record of Ireland.  Of particular interest is his database and catalogue of Irish radiocarbon determinations and dendrochronological dates from archaeological sites from throughout the island, which can be visualised and investigated here.  Please contact Robert for the latest up-to-date version as it really is a splendid piece of research and data mining.

Bibliography

Rathbone, S. 2016. Archaeological Boundaries: Discussions, Experiments and Unprovoked Attacks. Belfast: The Oculus Obscura Press. (Open Access).