Five Minute Version of “Punk Archaeology, Slow Archaeology, and the Archaeology of Care”

Because one of the panels that I’m on at the EAA meeting has pre-circulated their papers, they’ve asked us just to give 5 minute versions of our ideas.

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As you might expect, the ideas in my paper have continued to develop since I wrote it in July and it was pre-circulated in August, but I think the major contours of the paper remain more or less intact.

Here’s my effort a sub-5 minute summary.

This paper is an expression of anxiety more than anything. I’m particularly anxious about the growing role of digital tools in archaeological work both in the field and during the analysis, interpretation, and dissemination of archaeological knowledge. 

My paper considered the role of digital tools and processes particularly through the lens of archaeological practice (punk archaeology) where technology has expanded the range of human perception, memory, organization, and analysis. While my arguments were rather diffuse, I pursued a line of thinking that began with a consideration of two mid-century Christian anarchists, Ivan Illich and Jacques Ellul, who argued that technology, and modernity more broadly, have undermined the organic creativity of conviviality by emphasizing efficiency and convenience in the name of human interaction, embodied knowledge, and a respect for place. It is hardly surprising that these anti-modernist thinkers would offer a potentially useful critique of the modern discipline of archaeology.  

The second point I try to make, then, is that Ellul’s and Illich’s critique aligns with a recent strand in the discussion of digital tools in archaeological practice. Digital tools represent improvements in efficiency and accuracy, as well as the transparency and portability of digital (or digitized) archaeological information, but often rely on the fragmentation of archaeological knowledge into streamlined and integrated workflows. These practices, however, are not particularly surprising considering the significance of the assembly line on the organization of archaeological work where the regimented adherence to methods and procedures incrementally build new knowledge. The term “raw data” is analogous to “raw materials” that form the basis for industrial production. The influence of a modern, industrial approach to archaeology presents a counterpoint to archaeology as craft (and slow archaeology). 

Finally, and this point did not appear in the paper that I precirculated, I suspect that the mobile, modular, and granular nature of digital data anticipates a shift away from the assembly line and toward a very 21st century form of industrial organization: logistics. The assembly line manufactures a valuable product, whereas logistics involves the streamlined and decentralized distribution material, services, and goods that produces values through their relationship across space. These are both transhuman forms of producing value, but the former tends to structure the relationship between humans and machines in a linear way organized around a particular place, and the latter attends to a diffuse and decentralized relationship between objects, movement, standardization, while challenging or even just overwriting the notion of place and relationships that have long remained important to our idea of community and disciplinarity.

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The goal of my paper is to offer a more focused critique of the role of recent digital trends on the rhetoric, structure, and organization of archaeological practice, and to attempt to articulate some of the risks associated with these trends not just to the knowledge that we produce but to the kind of discipline that archaeology wishes to become. 

Punk Archaeology, Slow Archaeology, and the Archaeology of Care: A Revised Draft

Over the last week or so, I’ve continued to iterate on the paper that I’ll deliver at EAAs next week. Like all conference papers (or at least all of my conference papers), it’s a bit too much of everything and not enough of what matters resulting in it being a pile of “meh.”

That being said, the complete draft that I pushed out a couple weeks ago was also too long and diffuse. So while its flaws should still be apparent (and my apologies to all those who provided comments and tried to convince me to make it better), but it will at least be a bit more focused.

Enjoy: 

Punk Archaeology, Slow Archaeology, and the Archaeology of Care

William Caraher
University of North Dakota

Rough Draft of Paper for the European Archaeological Association Meeting
Barcelona, Spain
September 4, 2018

Introduction

My paper today is an effort to identify some of my own anxiety related to transhumanism in archaeology by thinking about technology in archaeology in an expansive historical way. This will, of course, run the risk of making my generalizations easy enough to dismiss with examples from actual field practices or implementation. My hope is that exceptions to my vision of the future of archaeology will provide reasons for optimism grounded in an advanced state of critical engagement with the way that digital tools are shaping the discipline. At the same time, I do think that long trajectory of digital practices in archaeology (and in our transhuman culture) remains unclear as folks like Jeremey Huggett have recognized (Huggett, Reilly, Lock 2018).

The title of this paper reflects some of my earlier efforts think broadly about archaeological practice. In 2014, I published a collection of reflections on “punk archaeology” (Caraher et al. 2014) which offered a view of archaeology grounded in radical and performative inclusivity, and, this formed some of the backdrop for a pair of articles on slow archaeology (2015, 2016) that juxtaposed the “slow movement” with a particular strand of scholarship that celebrated the increases in efficiency, accuracy, and precision associated with digital field practices. While both efforts have received substantive and thoughtful critiques that have demonstrated the limits to these analogies (archaeology is LIKE punk or LIKE the slow movement; see Richardson 2016; Graham 2017), I still hope that they offer some useful perspectives on the relationship between how archaeology produces the past in the present.

My interest today is to trace some of the threads proposed in these earlier efforts while focusing in particular on how digital tools and techniques intersect with new approaches to archaeological knowledge and disciplinary practices. In particular, I’d like to try to argue that our interest in efficiency in archaeological work has contributed to a view of archaeological practice that draws upon logistics as a model for a distributed knowledge making.

Ellul and Illich

My point of departure for this paper are two mid-century Christian anarchists, Ivan Illich and Jacques Ellul, who wrote critically on the rise of modern institutions and technology. Without over simplifying and eliding their different perspectives, both men saw the shift toward modern practices as profoundly disruptive to traditional values which supported embodied practices that shaped human communities.

Ellul’s is perhaps the more intriguing for any consideration of archaeological practice. He suggested that the rise of rationality and technology and its distinctive form of “technique” severed the careful attention of the individual from work itself (Ellul 1964). In its place emerged practices which, in the modern era, followed the logic of efficiency. While scholars have noted the ambiguities and limits to Ellul’s definition of efficiency (Wha-Chul Son 2013), his relationship between technique and efficiency anticipates recent understandings of technological agency that view human autonomy and individual choices as part of a distributed relationships between humans and their tools. The quest for efficiencies remains in Jennfier Alexander’s words, “an iconic mantra in the high-tech industries,” and a key consideration for how archaeology is organized and uses tools (Alexander 2008).

Ivan Illich shared many of Ellul’s concerns and proposed that modernity, technology, and the state disrupted the conviviality that existed in the premodern world and among premodern societies (Illich 1975). For Illich, conviviality represented the opposite of modern productivity (with its interest in speed and efficiency) and emphasized the free, unstructured, and creative interaction among individuals and with their environment. For Illich, like Ellul, the use of technology does not result in a society freer, but one that is increasingly bereft of the conditions that allow for creativity as the need for efficiency and speed create a kind of dominant logic in practice.

Illich’s and Ellul’s critiques of technology fit only awkwardly with much recent scholarship, of course. Efficiency itself has become increasingly regarded as a problematic term deeply embedded in practice and the coincidence of human and material agency (e.g. Shove 2017). Bruno Latour and others have demonstrated that any effort to unpack the complexity of energy in any system — social, mechanical, environmental, et c. — requires abstract acts of purification that define and separate energy and effects from their complex network of entangled relationships and practices (Latour 1993; Shove 2017, 7-8). This greater attention to the interaction between individuals and objects has provided a compelling theoretical framework for understanding the interplay of technology, tools, objects, and agency in the construction of archaeological knowledge.

On the other hand, this work has only just begun. A recent conference and publication dedicated to digital tools in field work, Mobilizing the Past for a Digital Future, was laced with discussions of efficiency and workflow in digital practices. Among the most widely cited and read articles from Journal of Field Archaeology is Christopher Roosevelt’s (and team) thorough presentation of the digital workflow from their project in southwest Turkey.

What remains less developed is a conversation on the impact of digital tools on the organization of archaeological practice (although see Pickering 1995; Taylor et al. 2018), the nature of archaeological skills and expertise, and issues of archaeological preservation and publication (Huggett 2017). In fact, changing views of agency have created new views of ethics in archaeological practice as well as in the social organization of discipline (e.g. Dawdy 2016). Perhaps this entangled view of the world gives the work of Illich and Ellul new relevance for archaeologist concerned with the social issue of disciplinary practice across the field.

Transhumanism and Disciplinary Practice

As the organizers of this panel know well, transhumanism offers a way to consider the interplay between the individual, technology, practice, and performance (e.g. Haraway 1984) in archaeology. It also offers a roadmap to anticipate the social and disciplinary implications of new approaches to producing archaeological knowledge. Indeed, for most of the later 20th century archaeologists have embraced methodology and seen knowledge making as an explicit relationship between particular techniques, tools, and situations. In this way, archaeological work does not end at the limits of our bodies, but extends reciprocally through technology, techniques, and social organization to create the hybrid space of archaeological knowledge making.

The dense interdependence of tools, techniques, methods, and individuals embodies a transhuman archaeology that shapes the social organization of archaeological practice. Digital technology, for example, whatever its integrative potential, relies, in part, on the industrialist and Taylorist approach of dividing complex tasks into rather more simple ones with the goal of final publication at the hands of a project director. However, unlike the relatively linear progress of Taylor’s assembly line which emphasized a rather immediate relation between the body of the worker and the object of work, digital practices embrace efficiency through the distributed logic of logistics (Cowen 2014). These transhuman networks depend both upon distributed assemblages of tools and technologies as well as interchangeable media which allows for information to move and be aggregated in different ways. As such, digital practices continue the fragmented work of the assembly line but emphasize new efficiencies by facilitating the distribution of work, knowledge, and information in non-linear ways. Streamlining the archaeological “workflow” mitigates differences in experience and expertise among specialists and facilitates new combinations of archaeological information.

As one example, Open Context provides a platform for the highly granular publication of archaeological data, which allows archaeologists to establish a stable URI for each artifact. The allows for artifact (or strata or survey units or photographs) to be shared, linked, combined, and remixed in different ways, and also highlights the pressures and potential to fracture and fragment digital data. Another example, various crowd-sourced research projects (e.g. Sarah Parcak work) have likewise shown how digital tools allows for fragmented bits of knowledge to be marshaled to address complex archaeological problems. Digital mediation in these contexts allow for the collecting of archaeological information from an unstructured cluster of participants. Obviously the use of crowdsourcing, where a large community acts as a kind of mechanical turk, is not ideal for all forms of archaeological knowledge making, but where is it applicable, it does present a distinct form of deskilling. With the increasing mobility of archaeological information, ease of integrating diverse collaborators, and granularity of specialization, the social impact of these kinds of systems on the disciple remains unclear.

I’m tempted to see that shift in the organization of archaeological practice from one based on the assembly line to one grounded in logistics parallels contemporary thinking in archaeological ontologies that see relations and assemblages as producing meaning. Just as an approach to archaeology grounded in assemblages of individuals, objects, places, and pasts, has produced new and hybridized ways of understanding the past in the present, so the distributed character of digital practices and their reliance on computer algorithm or software introduces distinctive logic of practice to field work and interpretation.

Conclusions

If Ellul and Illich saw the technological revolution of the 20th century as fundamentally disruptive to the creative instincts and autonomy of individuals because it falsely privileged speed and efficiency as the foundations for a better world, then this same strain of reasoning in archaeological practice should give us pause. My conclusion is a call for an “archaeology of care” that take cues from Illich and Ellul in considering how interaction between tools, individuals, practices, and methods shaped our discipline in both intentional and unintentional ways.

I’ve been concerned by a process that Gary Hall has called “uberfication,” which he has applied to changes in higher education in the United States (Hall 2016). The Uberfied University uses data to map the most efficient connections between the skills of the individual instructors and needs of individual students at scale. To be clear, this is a dystopian vision rather than an actual plan, but it reflects larger trends on public and private sectors which see the analysis of data as the key to efficiency within complex systems. It likewise relies on the ability not only to link individual agents to particular needs but also on the network’s ability to shape the behavior of agents to satisfy the various needs across the entire network. The data, in this arrangement, is not passive, but an active participant in the shaping the entire assemblage. It’s logistics.

The issue, of course, isn’t the existence of the assemblage; in fact, our recognition of the assemblage is what makes both its existence and its critique possible. What causes me anxiety is that the tools and techniques available to the transhuman archaeologist are as embedded in archaeological practices as they are in the logic of capital, efficiency, and modernity. The performative context of archaeological practice, whether “punk” or otherwise, offers the space for critical engagement. “Slow archaeology,” despite its grounding in privilege, nevertheless offers an ideal archaeological future that challenges the expectations of efficiency. Finally, an “archaeology of care” is my term for an approach to the discipline that embraces human consequences of both our methods and the pasts that they create.

Punk Archaeology, Slow Archaeology, and the Archaeology of Care: A Completed Draft

I’ve spent the last three months toiling over a paper that I’m scheduled to give at the European Archaeological Association meetings in September. I’ve posted parts of it here on the blog and gotten feedback from various folks. My panel is supposed to pre-circulate their papers today, and I do have a draft, but it’s pretty rough around the edges.

But since I’m pre-circulating it anyway, I thought I might as well post it here on my blog too. You can download it here, or go and mark it up using Hypothes.is here

The paper is for a panel on transhumanism, which I probably should have focused on more fully. Instead, I conflated transhumanism with a watered down version of Donna Harraway’s idea of the cyborg and reflected very broadly on the role of technology in shaping how we produce archaeological knowledge. 

The paper ended up being a bit more conservative than I would have liked, but that is probably true both to the “slow” paradigm that I’ve embraced for archaeology and, more obviously, the work of Jacques Ellul and Ivan Illich, which tend toward the explicitly un-progressive. That being said, I think there is a space for reflecting on how epistemologies, ontologies, methodologies, and the organization of disciplinary practice interact, and my paper parallels, perhaps in a not too distant way, some of the recent work being done to reconsider the value of antiquarian practices. Some of these scholars have seen antiquarianism as an avenue for understanding un-modern (and anti-modern) ways of producing archaeological knowledge that are, at least partly, free from the political and social burdens of modernity and colonialism

That being said, I don’t think that I get everything right. For example, I do see the recent interest in shifting the dominant metaphor in archaeology from excavation and revealing to surface survey and assemblage building as a way to integrate a wider and more diverse range of voices into process of archaeological knowledge making. In fact, Shannon Lee Dawdy’s and Olivier Laurent’s works do just that by showing how distinctive views of time, narrative building, values, and relationships contribute to place-making practices at the local level that operate outside disciplinary methods and arguments. At the same time, I see in the kind of assemblage building the potential for greater fragmentation in disciplinary practices which echoes the way in which digital tools create networks of independent devices linked by data broken into discrete fragments. 

In any event, I’m pretty sure that I didn’t get this paper all right, but as always I’ll appreciate any comments that you’re willing to offer. 

 

 

Punk Archaeology, Slow Archaeology, and the Archaeology of Care (Part 2)

Over the last three months I’ve been fretting and toiling about a paper that I’m writing for European Archaeological Association meeting in September that is due to pre-circulate on August 1. I promised myself to have a completed draft done by July 15, not so much to fulfill some vague Germanic need to have things done on time, but because I was struggling to wrangle my ideas into something that made sense. I posted the first part of the paper on Monday and here’s the second section. It’s rough and a bit raw (and maybe bad). As always I appreciate both constructive and destructive criticism.

As the organizers of this panel know well, transhumanism offers a way to consider the interplay between technology and performance in society (e.g. Haraway 1984) and, more specifically, in archaeology. It also offers a vague roadmap to anticipate the social and disciplinary implications of new approaches to producing archaeological knowledge. Indeed, for most of the later 20th century archaeologists have embraced methodology and seen knowledge making as an explicit relationship between particular techniques, tools, and situations. In this way, archaeological work does not end at the limits of our bodies, but extends reciprocally through technology, techniques, and social organization to create the hybrid space of archaeological knowledge making.

I like to think of the resulting archaeology is far more superficial in the sense that Rodney Harrison has suggested with the dominant metaphor of excavation giving way to the production of surface assemblages consisting of people, objects, tools, and techniques. For authors like Shannon Lee Dawdy, the awareness of how assemblages produce meaningful pasts involves more than simply dutiful documentation and analysis of archaeological work but also recognizing the relationship between field work, local knowledge, ritual activities, and various pre- and anti-modern ways of locating, narrating, and producing social value for artifacts (Dawdy 2016). For Olivier (2012), this speaks to the chaotic nature of time and memory from which the discipline of archaeological seeks to produce an order, but not the only order possible, useful, or meaningful. In this context, the rather linear practice of stratigraphic excavation with its institutional, disciplinary, and performative underpinnings gives way to the raucous and uneven performance of punk rock music which often eschews expertise, barriers to access, and specialized knowledge. There’s an immediacy to it and an explicitly improvised character to even recorded punk music. To use Illich’s terms, the interaction between tools, performance, methods, and individuals is convivial.

My arguments for a slow archaeology shares an interest in conviviality when it seeks to privilege unstructured or less structured engagements with the countryside, embodied field practices like illustrating and note taking by hand, and avoiding the fragmentation of archaeological information into smaller bit of “data.” On the one hand, I remain optimistic that such views of the use of digital technology in archaeology are likely to be superseded as scholars continue to unpack the complex relationship between archaeologists and technology. The transhuman archaeologist is much more likely to recognize the interplay between ourselves and the various digital ”cognitive artifacts” that expand our ability to think about, recognize, or produce archaeological objects (Huggett 2017).

On the other hand, a transhuman archaeology will also transform the social organization of archaeological practice. Digital technology, for example, whatever its integrative potential, relies, in part, on the industrialist and Taylorist approach of dividing complex tasks into rather more simple ones as a step toward aggregating the results of these tasks into completed products. While the linearity of the assembly line may appear outmoded in our digitally networked world, its efficiency speaks to a common goal of fragmenting work as a way to mitigate differences in experience and expertise. Various crowd-sourced research projects (e.g. Sarah Parcak work) have shown how digital tools have produced non-linear approaches to complex archaeological problems. Whatever the value of this kind of archaeological work it is hard not to see it as a kind of digital approach to industrial logic, and as a result, and bringing a distinct form of deskilling (or at very least “reskilling“) to certain kinds of archaeological work.

I recognize that by following the logic of Ellul, Illich, and other anti-modernists, I am predisposed my to worry about the use of remote, structured or simplified recording digital recording interfaces, the ease of point-and-click data manipulation, or the use of software to synthesize unstructured data such as generated by digital photography into 3D structure-from-motion images (Morgan and Knight 2017). I do, however, think that the adoption of digital tools and the understanding of digital technologies at both a conceptual and applied level is not merely exchanging one set of skills for another (pace Roosevelt et al.), but also simplifying (and deskilling) certain elements of archaeological work.

Shifting from an assembly line model to a digital model that allows for more dynamic (and remote) access to data production and analysis will transform the organization of archaeological work. The coincidence between an approach to archaeological grounded in assemblages of individuals, objects, places, and pasts, and the democratizing character of digital practices demonstrates allows us to accommodate, but also replace certain kinds of specialists with a computer algorithm or commercial software. The incorporation of algorithms, software, digital tools, and new techniques into archaeological practice brings with them their distinctive logic of practice to field work and analysis.

Jacques Ellul’s work stressed how efficiency and specialization are bound up in the fuzzy concept of technique which he locates as the driving force behind human decision making. For Ellul, technique is modern desire to work efficiently as an end unto itself. Archaeology, on the one hand, as a discipline that emerged, at least in part, alongside industrial practices has always privileged efficiency in organization, documentation, and work. This is not to say that individual archaeologists only and always privileged efficiency, of course, but the very concept of specialization in approaches, methods, procedures, and experiences represents a kind of technique that has played a historically significant role in the production of archaeological knowledge. Practices that marked an individuals specialized skills from carefully maintained notebooks of the trench supervisor or the intricate illustrations of the architect today represent some of the very fields that digital practices propose to refine and improve.

As people like Eric Kansa have noted, the impulse to use digital tools to produce more efficient data collection, as an example, anticipated the recent fascination with “Big Data” well in advance of the consistent demonstration of its results (Kansa 2017; Bevan 20xx). This is not to say that big data will not lead to important breakthroughs in our field, but to suggest that the efficiency possible in digital data collection, analysis, and dissemination, has outpaced our ability to draw significant conclusions. As Roosevelt and others cleverly quipped, digitization is an alternative to destruction in the context of field practices, but this presupposes that this data can produce meaningful interpretation.

Punk Archaeology, Slow Archaeology, and the Archaeology of Care

Over the last three months I’ve been fretting and toiling about a paper that I’m writing for European Archaeological Association meeting in September that is due to pre-circulate on August 1. I promised myself to have a completed draft done by July 15, not so much to fulfill some vague Germanic need to have things done on time, but because I was struggling to wrangle my ideas into something that made sense.

So here’s my a draft of my overly long introduction to the paper. Feedback is, as always, welcome:

My paper today is yet another effort to come to terms with my anxiety about the emergence of a transhuman, digital archaeology. To be clear from the start, I consider myself a bit of a digital archaeology and a digital native. I can’t remember, for example, living in a house without a computer and my role on archaeological projects has always involved data management and GIS. Over the last few years, I’ve also started an open access press, The Digital Press at the University of North Dakota, that privileges digital downloads over print and has featured a number of open access books that critically examine digital practices in archaeology.

My interest today is a speculative and theoretical and instead of focusing on the immediate context of field practices, I’d like to think about technology in archaeology in a more historical and expansive way. This will, of course, make many of my generalizations easy enough to dismiss with examples for actual field practices or implementation. These to me are reasons for optimism and perhaps reflect the advanced state of critical engagement with the way that digital tools are shaping the discipline. At the same time, I do think that long trajectory of digital practices in archaeology (and in our transhuman culture) remains unclear as folks like Jeremey Huggett have recognized (Huggett, Reilly, Lock 2018).

My small part in this conversation, which I shamelessly plug in the title of this paper, involved publishing a collection of reflections on ”punk archaeology” (Caraher et al. 2014) and, more recently, a couple of short articles that use the popular ”slow movement“ as an imperfect, but nevertheless accessible and useful lens for critically engaging digital archaeology (Caraher 2015, 2016) . Punk archaeology offered a view of archaeology grounded in radical and performative inclusivity, and slow archaeology considered the implications of a particular strand of scholarship that celebrated the increases in efficiency, accuracy, and precision associated with digital field practices. While both efforts have received substantive and thoughtful critiques that have demonstrated the limits to these analogies (archaeology is LIKE punk or LIKE the slow movement; see Richardson 2016; Graham 2017), I still hope that they offer some useful perspectives on the relationship between how archaeology produces the past in the present and how this shapes the organization of our discipline. It is the intersection of epistemological (and ontological) concerns and professional and disciplinary concerns that has heightened my sense of anxiety concerning archaeology’s digital future.

Some of this anxiety almost certainly comes from my growing interest in the works Ivan Illich and Jacques Ellul, mid-century Christian anarchists, who wrote critically on the rise of modern institutions and technology. Without over simplifying and eliding their different perspectives, both men saw the shift toward modern practices as profoundly disruptive to traditional values and a sense of community.

Ellul’s is perhaps the more problematic for considering archaeological practice. He suggests that the rise of rationality and technology, which he summarizes in the term “technique” after 1750 severed the careful attention of the individual from work itself (Ellul 1964). In its place emerged ”technique” which had its own abstract logic that was closely tied to the need for efficiency. Thus, in Ellul’s writing, emergence of technique in the place of individual care marked the decline in human autonomy as individual choices in how to work gave way to the inescapably logic of efficiency as the organizing principle structuring all human relations and relationships between humans and their tools. As Jennifer Alexander noted in her historical study of efficiency, “efficiency remains an iconic mantra in the high-tech industries,” and I’d argue efficiency remains a key consideration for how archaeology is organized and uses tools (Alexander 2008). In fact, a recent conference and publication dedicated to digital tools in field work, Mobilizing the Past for a Digital Future, was laced with the discussions of efficiency and terms like workflow. Among the most widely cited and read articles from Journal of Field Archaeology is Christopher Roosevelt’s (and team) thorough presentation of the digital workflow from their project in southwest Turkey.

Ivan Illich shared many of Ellul’s concerns and proposed that modernity, technology, and the state disrupted the conviviality that existed in the premodern world and among premodern societies (Illich 1975). For Illich, conviviality represented the opposite of modern productivity (with its interest in speed and efficiency) and emphasized the free, unstructured, and creative interaction between individuals and between individuals and their environment. For Illich, like Ellul, the use of technology does not result in a society more free, but one that is increasingly bereft of the conditions that allow for creativity as the need for efficiency and speed create a kind of dominant logic in practice. (One can see in this tension, for example, the curiosity driven and open-ended nature of basic science in contrast to the narrower more practically focused work of applied science (Pickering 1995).)

Archaeology, of course, has always been a hybrid discipline with certain aspects of practice grounded in the world of craft and others in the world of industrial (and increasingly post-industrial) practice. Michael Shanks and others have shown that archaeology, “has never been modern” or at least entirely modern as it integrates industrial and pre-industrial practices (Shanks and Maguire 1995; Shanks 2012). Recent efforts to champion the use of digital tools within archaeology have tended, however, at least on the practical level, to celebrate their ability to improve the aspects of archaeological work that tend not to align with industrial paradigms such interpretative description, scientific illustration, and the careful study of excavated artifacts. This suggests to me that the quest to improve efficiency in archaeological practice extends equally to modern and pre-modern practices in the discipline.

Illich’s and Ellul’s critiques of technology fit only awkwardly with much recent scholarship, of course. Efficiency itself has become increasingly regarded as a problematic term deeply embedded in practice and the coincidence of human and material agency (e.g. Shove 2017). Bruno Latour and others have demonstrated that any effort to unpack the complexity of energy in any system — social, mechanical, environmental, et c. — requires abstract acts of purification that define and separate energy and effects from their complex network of entangled relationships and practices (Latour 1993; Shove 2017, 7-8). This work, on the one hand, echos recent studies of both ancient and modern technology that have challenged tradition views of agency and argued that objects and individuals co-create the world. This greater attention to the interaction between individuals and objects has provided a compelling theoretical framework for understanding the interplay of technology, tools, objects, and agency in the construction of archaeological knowledge.

On the other hand, this work has only just begun, I suspect, to inform the thriving conversation on the impact of digital tools on the organization of archaeological practice (although see Pickering 1995; Taylor et al. 2018), the nature of archaeological skills and expertise, and issues of archaeological preservation and publication (Huggett 2017). In fact, changing views of agency in the world have created new views of ethics in archaeological practice as well as in the social organization of discipline (e.g. Dawdy 2016). Perhaps this entangled view of the world gives the work of Illich and Ellul new relevance for archaeologist concerned with the social issue of disciplinary practice across the field.

Two Abstracts for the European Association of Archaeologists Annual Meeting

My morning today was filled with finish abstracts from the EAA annual meeting. Since I can submit two and was kindly asked to contribute to two panels, I put together two abstracts that look to similar topics. These abstracts are pretty raw and the ideas should be both familiar to readers of this blog, but also slightly rougher and more incomplete. I’m thinking of them as prompts for me to develop as much as abstracts that summarize completed thoughts.

The first abstract is for Colleen Morgan, Catherine Frieman, and Marta Diaz-Guardamino Uribe’s panel titled “Human, Posthuman, Transhuman Digital Archaeologies”. I blogged about it here.

Here’s the abstract:

Punk Archaeology, Slow Archaeology, and the Archaeology of Care

Recent research has emphasized the significant impact that digital technology is having on archaeological practice. Over the last decade, my work has tried to come to terms with post and transhuman archaeology. First, I proposed a “punk archaeology,” which looked to rawness and immediacy of punk rock music as a model for a disruptive interest in the performance of archaeological work. Later, I became intrigued by the popular “slow foods” movement as well as in the work of diverse scholars on the rapidly accelerating pace of modernity as a model for a “slow archaeology” that sought to trace both the rhetoric surrounding and practice of digital technology in field practice. Recent work by Eric Kansa and Ömür Harmanşah have pushed me to recognize that slow archaeology may well offer a solid foundation for critiquing the growing influence of neoliberal expectations in the use of digital tools in archaeological work.

This paper draws on field experiences doing intensive pedestrian survey in the Mediterranean and the archaeology of the contemporary world in North Dakota to consider how digital tools mediate and transform not only archaeological information in the field, but also the experience of fieldwork. Critical reflections on these processes have shaped an archaeology of care that considers more than the efficiency, accuracy, and convenience of digital tools and analysis, and, instead, shifts the focus how the archaeologist and these tools creates a meaningful space of archaeological practice. Archaeology of care foregrounds the constitution of the archaeological field team, interaction between archaeologists and communities during field work, the location of archaeological analysis, and the experience of archaeological knowledge making to expand our sensitivity to the ways that digital technology is transforming our discipline.

~

The second abstract is for Rebecca Seifried and Tuna Kalayci’s panel and titled “”The “Geospatial Turn”: Critical Approaches to Geospatial Technologies in Archaeological Research.” I’ve blogged about it here.

And, here’s my abstract:

Slow Spaces: Big Data, Small Data, and the Human Scale

Fernando Braudel famously demonstrated in The Mediterranean World in the Age of Philip II, that historical data analyzed at various scales are not necessarily comparable or commensurate. In other words, history written at the chronological and spatial scale of the longue durée need not inform history written at the scale of the individual or event. On the one hand, this appears to be a common sense conclusion and corresponds well to our experience of purchasing suggestions produced by algorithm, the music choices of Pandora, or any number of predictive models that falter when ground-truthed.

On the other hand, archaeologists regularly seek to work between scales as they both collect information in the field in a tremendously granular and detailed way and seek to use so-called “big data” to understand lived experiences. To make data collected at the small scale commensurate with both data and research questions articulated at a larger scale invariably involves standardization practices that obscure the agency of the individual archaeologist. In this way, our sense of scale in argument influences, in some ways, the limits of agency in practice.

My paper today will briefly explore the intersection of slow archaeology and space in archaeology. Slow archaeology offers a critical approach to digital practices in field archaeology and emphasizes the irregular and unstructured nature of archaeological knowledge generated through experience. These slow spaces represent a distinct form of archaeological knowledge making because of their incommensurability with the spaces of big data. These are not space that can or should be reconciled with the conventional approaches of spatial analysis.

Slow Archaeology, Punk Archaeology, and the Archaeology of Care

Over the last week or two, I’ve been trying to figure out a paper for a panel at the European Association of Archaeologists annual meeting in Barcelona in September. The panel is titled “Human, Posthuman, Transhuman Digital Archaeologies” and the abstract looks for papers that: 

“… evaluate the growing paradigm of digital archaeology from an ontological point of view, showcase the ways digital technologies are being applied in archaeological practice—in the field/lab/studio/classroom—in order to critically engage with the range of questions about past people and worlds into which digital media give us new insights and avenues of approach.”

It’ll be a good panel and the folks proposing it are both cutting edge and super smart.

Obviously, this is something that deeply interests me, but it also has demoralized me in some ways. Whenever I read the latest paper on the use of digital tools, technologies, and practices in the field, I feel a bit anxiety. The language geared toward efficiency, accuracy, precision, and seamlessness in archaeological work doesn’t make me happy and to think that the archaeology of the future will be better, that the knowledge that we produce will be better, that the discipline that defines us will be better, and that the society that we inhabit will be better. I don’t like the feeling that – to paraphrase any number of recent dystopian science-fiction plots: “humanity is a bug” and technology is the solution.

Slow Archaeology, Punk Archaeology, and the Archaeology of Care.

I’m not sure that humanity is a problem to solve and challenge to overcome and somewhat is begging to be enhanced, augmented, or virtualized. I actually like just normal reality. I don’t really want to click here to save everything. I’m not comfortable with the idea that symmetrical archaeology requires symmetrical practice, and I don’t enjoy the realization that the varied abilities of humans are affordances that constrain the functioning of tools.

I’m not saying that we don’t all need a little BLOCKCHAIN in our lives or that I haven’t adapted to the keyboard on my space-grey MacBook Pro. I mean, I wear and Apple Watch and it has nudged me to exercise more regularly. I used a drone to map a hilltop fortification this summer in probably 20% of the time that even a bad conventional survey map would take. I now stream cricket, the NBA, television shows, movies, and most importantly for me, music. Running my high-resolution, streamed music through a vacuum tube amplifier that drives full-range, paper drivers makes me feel a little better, but only because it obscures how deeply embedded I am in the internet of things. I mean, I think my dogs are real. I’m pretty sure. I’ve asked them repeatedly if they dream of electric squirrels. The bigger, yellow dog, just tilts his head.

What also causes me anxiety is that technology is also a problem to solve. Perfect music forever has become high resolution audio has become high definition audio has become vinyl spinning on turntables. The portable digital document in portable document format has become obsolete in the age of linked, machine readable data. Text mining offers ways to strip meaning from the tangled clutter of language or to strip language from the page or mine meaning from the ore of style or something. Mountains of text are now laid low, but the slag heaps of un-mineable documents threaten to bury the town. The codex discarded on a riverbank becomes an object rather than a source.

In fact, everything is an object now. We catalogue objects, collect objects, objects become database objects, objects orient toward ontologies. Things fall into line or create lines or become lines or push us to fall into line. Sometimes, I feel like I just can’t deal with it all.

And all the while, the churning hum of technology of data of objects pushes us people – symmetrically – to become data too. Uberfication. Archeology isn’t about the past. It’s not about people. It’s not about societies or buildings or art or identity or even the archaeologist. It is about data. Archaeology is a data problem to be solved. Uber is really a data analysis company. So is archaeology these days. 

To be clear, I’m part of the problem. I use the word workflow, I’ve talked about data, I’ve thought about blockchain (but not really), and I’ve even considered efficiency and inefficiency as metrics to evaluate practice. Even if I admit that good practices are inefficient, the friction in the system contributes energy to creativity. Industrial and post-industrial metaphors saturate my prose and introduce seams to the smooth contours of experienced reality.

Maybe it makes sense. After all, books have pages. Archaeology is a discipline born from industrial practices. Schliemann was an industrialist. The tools of the industrial and the post-industrial revolution – the railway, the assembly line, specialization, the manager, the spreadsheet, the database – have coevolved (and it been compounded by the university). It’s hardly surprising that archaeology is post-industrial these days and data driven. 

Even craft and slow and punk these days stands apart more and more as a response or a reaction. Craft beer isn’t less manufactured somehow and mechanical watches use silicon balance springs and were designed in AutoCad and 3D printed. Vacuum tube amplifiers have integrated circuits to balance the tubes.  Vinyl records are produced from digital masters. Craft and slow are an affect. There is no outside the digital.

Anyway, I’m spiraling now. I’m going to give a paper in September and it’s going to try to say some of these things in a way that embodies my very human anxiety. Digitally mediated anxiety. Craft anxiety. Intentionally imperfect to remind us that perfect data forever used to not be a thing.

Voices of the Bakken (and some other cool stuff)

Last weekend, the night before the Eagles punched their ticket to the Super Bowl, a group of us got together to talk punk rock in the Trump era at Ojata Records in Grand Forks.

IMG 1735

As part of that event, I put together a little grab bag of music, books, and documents donated by punk rockers, interested fellow travelers, and The Digital Press at the University of North Dakota. Thanks to Andrew Reinhard, Chris Matthews and Quiz Show, June Panic, Brian Schill, Bret Weber, and everyone else who made this possible and contributed something fun to the little handout.

Here’s a link to that packet.

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The part of this little packet that excites me the most is the first little glimpse of a huge project brewing at The Digital Press: Bret Weber’s Voices of the Bakken. Over the half-decade life of the North Dakota Man Camp Project, Bret Weber and his colleagues have interviewed dozens of people in the Bakken. The plan has been to publish all of these interviews with commentary. At present, we’re offer a sample of six of them to give a taste of the range and character of the interviews. 

Here’s a link to that book.

Weber Voices of the Bakken Cover

Punks on Trump

Next week, I’m going to hang out with some pretty fun guys and talk about punk rock in the  Trump era at Ojata Record in Grand Forks. The event is partly to celebrate the publication of Brian Schill’s new book, This Year’s Work in the Punk Bookshelf, Or, Lusty Scripts (Indiana University Press, 2017), which we chatted about over on the North Dakota Quarterly page in November and the book that Bret Weber and I wrote, The Bakken: An Archaeology of an Industrial Landscape (NDSU Press 2017). 

There will be bands: June Panic and the Semaphores and Mistaken Thieves.

There’s a free book: Punk Archaeology (The Digital Press at the University of North Dakota 2014).

Here’s a link to the Facebook event page. The press release is below the flyer.

PunksOnTrump

Local authors and bands to talk “Punk in the Trump Era”

GRAND FORKS—On Saturday, January 20, 2018, a handful of current and former UND faculty will occupy the stage to discuss “Punk in the Trump Era” at Ojata Records in Grand Forks. 

Representing the fields of history, music, archaeology, social work, and cultural studies, Bill Caraher, Chris Gable, and Brian Schill will hold an open conversation about what, if anything, punk subculture contributes to contemporary political discourse in the United States today, especially with an eye toward the current American President.

“For all its dissonance and noise, punk rock music has always offered some salient commentary on contemporary politics,” Caraher says. “With the world seemingly more and more chaotic and dissonant all the time, today seems like a readymade opportunity for those who think about punk seriously to stoke this conversation.”

According to Schill, the panel very much expects audience participation in the free, public event, which will be moderated by UND Social Work professor and Grand Forks City councilperson Bret Weber.

“While the politics of punk are often stereotyped as left-leaning, they’re often much more ambiguous,” adds Schill, who performed in punk clubs across the country with a variety of bands in the late-1990s and early-2000s. “Some punk bands have joined the so-called resistance movement, but there are a lot of Trump supporters among those who also identify as ‘punk,’ including former Sex Pistol Johnny Rotten and the punkier members of the alt-right.”

The event doubles as a book release party of sorts as each of the faculty are promoting recent scholarship they’ve produced on (post)punk, politics, and North Dakota:

·       Caraher is co-author of The Bakken: An Archaeology of an Industrial Landscape (NDSU Press, 2017) and published the title Punk Archaeology (The DigitalPress@UND) in 2014

·       Weber is Caraher’s The Bakken co-author and has studied the social impact of North Dakota’s oil boom

·       Gable is the author of The Words and Music of Sting (Praeger, 2008) and The Words and Music of Sheryl Crow (Praeger, 2016)

·       Schill is the author of the literary history of punk and postpunk music, This Year’s Work in the Punk Bookshelf, Or, Lusty Scripts (Indiana University Press, 2017)

The panel will serve as the opening act for performances by two local punk/indie bands: June Panic and the Semaphores and Mistaken Thieves.

The event, sponsored by Ojata Records (aka Dogmahal) and agricouture.org, begins around 7 p.m.

###

Brian James Schill
Founder, agricouture.org
agricoutures@gmail.com

More Punk Archaeology

I was pretty excited to read the most recent issue of World Archaeology dedicated to “Counter Archaeologies.” I blogged about Lorna-Jane Richardson’s intriguing article on punk archaeology this past summer, and while I guess my critique of it rubbed some folks the wrong way, I still think her article moved the conversation forward in important ways. And it was incredibly gratifying to see scholars engage the work I did with Kostis Kourelis and Andrew Reinhard a few years ago serious. (Download Punk Archaeology from The Digital Press at the University of North Dakota here or buy a copy here!)

This past weekend, I read John Schofield’s introduction to the volume, “‘Deviants, punks and Pink Fairies’: counter- archaeologies for unreasonable people.” He approaches punk and counter archaeology in a deeply personal way. He located his own interest in counter or even punk archaeology in his experiences in the field in the 1970s and 1980s. Like many of us, he found the tension between the socially conservative character of archaeology as a discipline (and particularly as a practice) and its progressive goals jarring. The tendency to privilege the traditional forms of knowledge making, namely excavation, and periods of study, namely the preindustrial past, limited the scope and influence of archaeology as a discipline. Schofield found himself drawn to landscape practices, to marginal and understudied regions, and ultimately to the modern period which often fell well outside the archaeologist’s gaze. For Schofield, this has as much to do with his own resistance to authority and reluctance to be told what to do as any grandiose intellectual goals. I found this admission refreshing, perhaps because it describes my own attraction to punk archaeology. The more people pushed me to do conventional archaeological or historical work, the more I felt the need to do things and think about things differently. (And it should be clear that just thinking about things in a different way is not the same thing as actually producing new knowledge or contributing to the discipline…)

Schofield then goes on to propose a few principles of punk archaeology practice grounding in C. O’Hara’s Philosophy of Punk (1995) and D. Beer’s Punk Sociology (2014). For these scholars and, indeed, Schofield, punk practice opposed conformity, embraced the DIY, and – perhaps most importantly – valued individual freedom and responsibility.

This last point struck home for me. Recently, I’ve returned to thinking a bit about anarchism (and my recent book, The Bakken: [An archae]ology of an industrial landscape (2017) offers a little play on words that hints at some of my thinking) both as a way to undermine certain structural barriers that seem to limit how archaeology functions both in practice and in the broader area of method. While I’m not entirely sure that I have the ability or energy to reconcile the tendency for archaeological knowledge to be generalized, structural, and diachronic with the individualized character that defines some aspect of anarchic thinking, I do find appeals to undermine traditional practices and our increasingly bureaucratized (and Taylorist) approach to archaeological knowledge making provocative and potentially useful. At the same time, I’d like to think that my interest in archaeology of the contemporary world emphasizes the differences and disjunction between a world created by rules, convention, and expectations, and a world created by myriad individual decisions and practices. I look forward to reading Stuart Rathbone’s article in the same volume “Anarchist literature and the development of anarchist counter-archaeologies.”

Extending this view of the past to our work as archaeologists seems to be a key component of a punk archaeology and perhaps finds a useful, in unintentional, parallel with our concept of an “archaeology of care.” Of course, it would be profoundly un-punk for us to simply replace the orthodoxy of conventional archaeological practice with a model grounded in a different set of expectations and replace one conformity with another. And perhaps that’s the most appealing thing about Schofield’s introduction. By locating his understanding of counter archaeology in his own practices and in an intellectual tradition, he allows us to recognize the personal and the collective and disciplinary in punk practice and allows it to be “a thing” without having to conform to any one set of rules.

One last thing, it was a drag to see that a volume on counter archaeology did so little to engage with the fact that academic publishing not only promotes certain kinds of conformity of practice (both good and bad), but also limits access to our work. In recent years, private companies who seek to monetize the impact of our ideas and work, and this volume of World Archaeology is no exception. We can do better than this.