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Wednesday, 23 December 2015

Emotions and Archaeology


Affective Cartography: A Reflective Essay on Emotions and Archaeology.

 
Introduction
Just as emotions drive many aspects of the world around us today, so it is true that emotions have been influential (and influenced) by the history that has shaped the past. For historians, classicists, art historians and archaeologists, and others too, investigation into emotions can greatly enrich our understandings of the past. That said, interpreting emotion from cultures, times and places that are very different to our own can be complex and problematic. My own discipline of archaeology has been cautious and had relatively little to say about emotions. For that reason I would like to take this opportunity to reflect on the relationship of emotion and archaeology, and both the challenges and potential benefits that may hold for the future.   

Emotion and Research
Emotions underpin so many of our interactions in the world today, yet in academic discourse the modern Western tendency has largely been to attempt to downplay the role of emotions, or perhaps even to remove them from at least the stated aims and methodologies of academic research. Since the Enlightenment, there has been an assumption that learning and scholarship must be driven by rational objectivity and empiricism; detached from more subjective emotion.[1] For researchers there is inevitably emotions at play in behind the object of their inquiry. Whether the research examines in detail the specific intricacies of a single event in history, or takes a broad discursive view of deep historical factors over centuries – emotion is always there.[2] Emotion is always both affect and effect.   There is also inevitably an emotional investment by the individual conducting the research. The objects of the research, the research itself and the journey experienced in conducting that research all result from and further generate emotional experiences. Human beings are not automata, emotionless machines, yet intellectual rigour requires, nay demands, a certain amount of emotional detachment and objectivity. All of this contributes to a tension that has built up over centuries between two seemingly juxtaposed positions rationality and emotions.

This polarisation between rationality and emotion can be seen between different approaches between different fields, but also even within a single discipline.  The general modern Western interpretation is that emotions are experienced internally to our individual consciousness, with individuals emotional responses and expressions varying widely from experience to experience and even varying significantly between people going through the same or similar emotional experiences.[3] The sciences have tended to view emotions as being biological and/or neurological reactions to stimuli hardwired universally across humankind with the reaction or expression of emotions varying between occurrences, people and cultures as dictated by circumstance or expectation.[4] From this perspective emotions are objective phenomena, even if that is an electrical impulse through a pathway of neurons, but the experience and expression of emotions is highly subjective and variable and therefore contrary to the rationality, empiricism, and objectivity that is the foundation for the scientific method. On the other hand, the humanities and social sciences have often viewed emotions and the expression of emotions as social constructions, being culturally relative, the result more of nurture than nature.[5] More recently, perhaps due to greater interdisciplinary cooperation there is increasing acknowledgement of both sides and more acceptance of intermediary positions between these extremes.[6]

Archaeology and Emotion[7]
As I stated earlier, as a discipline, archaeology has had surprisingly little to say (at least in print) about the relationship of emotions in archaeological discourse. At first this may appear surprising, as other similar and sometimes overlapping disciplines like history and anthropology have been more inclined to embrace theories of emotion and apply new interpretations of affect and emotion to better understand people living in different times, places and cultures. I suspect this caution about dealing with emotions has something to do with the nature of archaeology as a discipline in and of itself. In the popular imagination archaeology is represented by adventurous treasure hunters like Indiana Jones, Tomb Raider, or a little more realistically by popular British television series like Time Team and Meet the Ancestors. By interpreting and analysing finds of artefacts, architecture, human remains, technological processes of production, sites, and texts, particularly anything found in situ (found in the original context in which objects were left when deposited), archaeologists can rediscover and analyse various aspects of life in the past. Archaeology is generally regarded as a humanities discipline, however depending on the country and academic institution, archaeology can be placed as a social science or even a science taught alongside geology. In my experience, I have found that archaeology exists in something of a luminal zone between the worlds of humanities and social sciences on the one hand and the traditional sciences on the other.  In conducting their research, archaeologists are often aided or need scientific cooperation and so a working understanding of radiocarbon dating, soil and organic chemistry, geology, animal and human anatomy, botany, chemical residue analysis and various other forms of scientific analysis can be invaluable for interpreting data and understanding the processes at work on a site or upon artefacts. On the other hand, this data is meaningless without the cultural understanding and analysis gained through humanities research. Therefore archaeology is probably best considered among the humanities, but one that can often draw important contributions from the sciences.


[1]  AHR 2012. Extensive discussion on the history of academic approaches to emotions.
[2]  Stearns 1993.
[3]  Different connotations to the use of emotion, including as a “scientific term” available in Dixon 2012.
[4]  Gammerll 2012.
[5]  Plamper 2010 passim.
[6]  Plamper 2010 passim.
[7]  One of the few, but very comprehensive studies can be found in Tarlow 2000.

Wednesday, 11 November 2015

Where Does the Bluetooth Symbol Come From?

Where does the "Bluetooth" symbol come from?
Bluetooth wireless is named for Herald Bluetooth, the tenth-century king of Denmark and parts of Norway. Herald Bluetooth was a famous unifier, bringing the Danes under a single king. He inspired Jim Kardach, who happened to be reading Frans Gunnar Bengtsson’s novel, The Long Ships, about the Vikings and King Herald Bluetooth when he invented a system uniting mobile communications. The logo is a modern form of a Viking “bind rune" combining the Hagall and Bjarkan runes from the Younger Futhark.

A Futhark is, of course a Runic script named after spelling the first few runes in that script F-U-Þ (English Th sound)-A-R-K, just like Alphabet is derived from the first two letter in Ancient Greek in that script, Alpha and Beta. The Younger Futhark was the more common form of runic writing during the Viking Period across Scandinavia. Bind runes were a common way of drawing on and combining the magical properties of two different runes.

Herald/Harald Bluetooth (Old Norse: Haraldr 'blátǫnn' Gormsson ) was born c. 935. He reigned in Denmark c. 958 – c. 986 and in Norway c. 970 – c. 975/986. He died in c. 986 or 987. Some see him as a liberator and unifier, building kingdoms that would become nations, others see him as a ruthless tyrant who converted to Christianity and began ruthlessly imposing the new faith on his peoples, securing wealth and alliances at home and from Christian Europe.

Saturday, 31 October 2015

Types of Viking Axes and Swords


Here are Petersen's well known  typologies (and chronologies) of Viking Age axe and sword types.


Axes:



And Swords:




Tin and Oil

The Archaeology Reading Group has been running at the University of Melbourne for quite awhile now. The numbers of attendees, mainly postgraduate students and early career researchers can vary based on the topic, readings or guest presenter. There is nonetheless always something interesting to read every month with this group, and often even more interesting things said in discussion.

We were fortunate enough to have Dr. Giorgi Bedianashvili of the Georgian National Museum to discuss some food for thought in an article on the Bronze Age Collapse. The paper was called "Tin and Oil: Can we Forsee the Future through the Remote Past?" by Mikheil Abramishvili, Illia State University and the Georgian National Museum. It comprised the opening lecture of the 4th Eurasian Archaeology Conference (11/10/2012) and will be published in the forthcoming "Fitful Histories and Unruly Politics: The Archaeology of Eurasia from Past to Present."


It gave us all pause to see to the comparison drawn between  the internationalism of complex societies of the Near Eastern Bronze Age, revolving around the economy of access to tin to produce bronze, prior to the collapse, and our own complex international economies  so heavily focused on that other resource - oil. Are we too headed for collapse and will new societies rise from the ashes?

One thing that we kept coming back to was the nature of the transition to the Iron Age. While iron would come to replace bronze, iron was certainly widespread naturally and iron smelting technology and iron objects were still in use before the dawn of the Iron Age. We noted that the Hittite Empire collapsed at the same time, despite already having a growing population and having already developed Iron technology for use in warfare, so "new" technology in the form of Iron, nor demographic expansion is likely to have been a substantial cause of the collapse of Hittite power. Giorgi noted that in the Caucasus region too, we see no direct disruption of power reflected in the archaeological record. Instead there is just a more gradual transition from Bronze to Iron Ages.

So renewable energy technology may or may not to spell the beginning of the end for our fossil-fueled age today, but is that a cause or a result of declining supplies of a finite resource? Does it reflect cultural and demographic shifts. The extent to which such things co-occur in the same socio-economic climate rather than preceded each other is still not well understood, but is nonetheless worth giving some future thought to when considering what can the remote past teach us about our future.

Friday, 16 October 2015

Indiana Jones Hat

Where would Indiana Jones be without his trademark hat? You may have noticed my own hat, one that has quite a few stories of it's own - but that is perhaps best for another time...
My brother recently got back from a holiday, and what did he get his archaeologist brother - why a tiny Hollywood Indiana Jones hat souvenir of course! Haha!





Wednesday, 14 October 2015

Disney's "Let it Go" in Ancient Greek with Lyrics

A creative effort from Classics students at Auckland University, that is just too good not to share! 

Disney's hit song from the film Frozen, "Let it Go" in (Classical Ionic) Ancient Greek.


https://www.youtube.com/watch?t=150&v=NX_MSrE9WtE

Lyrics in Ancient Greek and English
http://classicalanthology.theclassicslibrary.com/2015/10/13/let-it-go-disneys-frozen-in-classical-greek-contributed-by-students-of-the-university-of-auckland/

Enjoy!

Friday, 9 October 2015

Between Artefact and Text Exhibition at the Ian Potter Museum of Art

A quick catch up post for you all, good reading folk of this blog.

Last year I went to the opening of The Ian Potter Museum of Art's Exhibition 'Between Artefact and Text.' The exhibition was designed as a public, schools and undergraduate educational and informative display. Objects were drawn primarily  from "the Potter's" own collections, many of which have come as generous gifts over the years, on top of the core founding donation collection of the museum and various other pieces acquired by the University of Melbourne over time. 
The concept was to explore three well known ancient cultures through a mythic text and then display artefacts which depicted, represented, were described in or otherwise reflected something about the mythic text and the society that recorded it. Ancient Egypt was explored through the Tale of Sinhue, the gripping tale of an exile's adventures and new life in Canaan only to have lived along adventourous life and return to his beloved homeland. Mesopotamia was examined through the Epic of Gilgamesh about the legendary king of Uruk described as 'two parts god and one part man' (meaning he was viewed as both a demigod hero and a priest-king mortal - but with just a bit more of the divine in him than the man) and he has often been claimed as the world's first superhero. The Classical worlds of Greece and Rome was explored through Homer's the Iliad and Virgil's Aeneid in turn.

A great teaching and learning exhibition that highlighted how we can make the best use of useing texts and artefacts together to better understand past societies (and as a mirror of our own), which urges the observer to question how and where text and artefacts might tell different perspectives of even the same story, and how and why might that be so.

http://www.art-museum.unimelb.edu.au/exhibitions/future-exhibitions/exhib-date/2014-10-25/exhib/between-artefact-and-text