Public Archaeology

En Asturias la divulgación del patrimonio arqueológico ha crecido de forma extraordinaria desde los años noventa hasta la actualidad. La construcción de centros de interpretación, aulas didácticas, centros de orientación o parques arqueológicos nos han dejado un mapa repleto de información arqueológica. Durante estas tres décadas se han inaugurado más de 160 entidades culturales entre las cuales tenemos 27 dedicadas a la arqueología. Durante este tiempo las voces críticas al androcentrismo en los museos han permitido algunos cambios aunque también encontramos demasiadas permanencias.

La reutilización de iconografías ancestrales en contextos contemporáneos es una práctica cultural con un largo bagaje histórico. En la arquitectura y las artes plásticas, el resurgimiento de la antigüedad grecorromana en Europa o Norteamérica, o el neoindigenismo en América Latina, son ejemplos de ello. En la cultura del presente se manifiesta en diversas formas, desde reinterpretaciones de mitos clásicos en la publicidad o el cómic, hasta el uso de iconografía de la antigüedad clásica o prehispánica en la música o el arte urbano. También artistas visuales contemporáneas reinterpretan el pasado prehispánico para abordar temas sociales y políticos actuales. Estos préstamos retrospectivos no solo enriquecen la expresión cultural, sino que también desafían las narrativas dominantes, promueven la diversidad y generan conciencia sobre la historia y la identidad cultural.

Teaching about ancient Jewish history and the Tanakh through archaeology can give students a tangible way to imagine the Jewish past. Archeology is also a method to excite students; some of the biggest blockbusters in movie history are about archaeology: Indiana Jones, The Mummy, and National Treasure, down to the recent Netflix series The Outer Banks. Archaeology, the hunt for treasure, excites the public and students about the past. The City of David is a central archaeological site for learning about the history of the Prophets. The site, which is now a national park with ongoing excavation, welcomes both the general public and scholars interested in the history of ancient Jerusalem. Unfortunately, not everyone has the chance to personally witness the excavation and experience the wonders of Biblical Jerusalem. We have to find other ways to present this site to students.

Nuclear cultural heritage-making is an emergent and fast-growing area of knowledge and practice worldwide. The legacy of building, operating and closing down nuclear power plants, research reactors, testing and deploying nuclear weapons and running nuclear research facilities is intertwined with the making of modern energy systems and global structures of national security. Whereas the end of the Cold War in 1991 coincided with the end of the boom of building nuclear power plants, the 2020s are marked with renewed promises to invest in nuclear power. However, the 1950s-60s anticipation of a radiant nuclear future has been replaced with complex environmental, economic and social concerns around nuclear decommissioning, particularly its impact on local communities, and the challenge of safeguarding nuclear waste and protecting future generations.

In this context, the cultural forms through which we make sense of inherited nuclear infrastructures, as well as the intergenerational transmission of material culture and knowledge, come to the fore. Local resident communities, nuclear industry veterans, anti-nuclear movements and amateur and professional historians of nuclear power have strong interest in documenting the nuclear past and preserving elements of its material culture. Communities exposed to radioactive contamination and land extraction seek restorative justice through cultural heritage action (Jurkonyte 2023; Jacobs 2022; Christopher Hill and Jonathan Hogg, ongoing; Rindzevičiūtė, Dovydaitytė, Kasperski, forthcoming). Additionally, national and international policy and industry bodies have begun to recognise the value of the cultural heritage approach for public engagement and safe decommissioning (for instance, German Federal Office for the Safety of Nuclear Waste Management (BASE), the Radiant Monuments conference organised by ICOMOS (2024); see also Brandt & Dame 2019; SKB 2019; Kärnavfallsrådet et al. 2019; NEA-OECD 2015; Gunn & Croft 2010; Cocroft 2006).

However, what constitutes nuclear cultural heritage and how it can benefit different social groups is unclear and contested. Nuclear decommissioning entails large and costly projects where the imperative is to deliver “value for money” by removing the radioactive and material structures in a speedy and efficient manner. There is a risk, therefore, that valuable tangible and intangible forms of nuclear cultural heritage will be lost and that social inequalities might be perpetuated in the process. In turn, the shrinking material basis of nuclear culture could have detrimental impact on reflexive democracy: as noted by the UK Department for Digital, Media, Culture and Sport (DCMS), “the additional value of culture lies in it being a site of contestation, reflecting the importance of disagreement and negotiation in diverse societies” (DCMS 2022).

To address these issues, the international research project Nuclear Spaces: Communities, Materialities and Locations of Nuclear Cultural Heritage (NuSPACES, 2021-2024) was set up to study the cultural heritage process in key national nuclear sites in the UK, Sweden and Lithuania. Although these sites have served different purposes and are located in different contexts, their nuclear reactors were shut down within about a decade: Dounreay in 1994, Barsebäck in 1999 and 2005, Sellafield in 2003, and Ignalina in 2004 and 2009. These developments significantly influenced local economies and communities.

統整近二十年來的考古研究新進展以及藏品文物，國立臺灣史前文化博物館臺灣史前史廳的展示更新，重新梳理三萬年迄今的人群活動發展脈絡。本文聚焦展示規劃過程中，如何運用複合媒材、多媒體、色彩設計、空間符碼等不同面向，轉譯考古學概念及知識，以或隱或顯的方式落實在展示空間，成為強化展示核心和理念的輔助。同時指出考古學知識進行轉譯時，會遇到的詮釋困境及可能的解決方向。藉由前述手法運用；結合策展人、設計師、藝術家等人的視角及觀點，將多重元素交織在臺灣史前史廳的場域裡面，創造以島嶼為舞臺的史前敘事，呈現多元、包容、移民、交流等關鍵字，試圖形塑並且達成以土地作為認同載體的目標。

Egyptology has largely resisted decolonisation efforts, even while researchers recognise its origins in British and French colonialism. The discipline can therefore serve as a useful case study in how to approach decolonisation, even when this appears to be an impossibility. Researchers have addressed the discipline’s early history, recognising the roles of colonialism and racism in centring European and North American institutions as sites of authoritative knowledge production on ancient Egypt (e.g., Reid 2003; Challis 2013). However, the theory employed in Egyptological knowledge production remains Eurocentric and dominated by white authors located in these institutions.

Echoing recent calls for Egyptologists to apply postcolonial theory in their work (Langer and Matić 2023), this talk makes the case for embedding postcolonial theory in undergraduate curricula. Efforts to promote diversity within the discipline are constrained if this diversity is not reflected in the make-up of course reading lists, which are still dominated by white, European and North American researchers. Current research output remains dominated by this group, making it necessary to look beyond disciplinary boundaries to ensure inclusion of diverse perspectives.

According to most dictionaries, if one studies archaeology—whether inside or outside the frames of academia—one is an archaeologist. In other words, a practitioner of archaeology is, regardless of academic training and qualifications, an archaeologist. But is one who is academically qualified in archaeology, and yet does not practice it, an archaeologist? This seems to be the real question to pose, and it’s also the one which brings us to actual people.

Historically, museums have been spaces for material experimentation, the practical manipulation of objects, and the testing of hypotheses. Objects were modelled, moulded, reproduced, and shared with others. They were faithfully copied, used, damaged, and fixed as part of experimental investigations into their possible uses and the technology behind their making. Annual Reports of the Pitt Rivers Museum describe students at the museum making “flint implements…spinning or weaving” and puzzling out “the scales of… musical instruments”. A now infamous anecdote involves the censure faced by a museum curator following an incident with a thrown boomerang in the nearby University Park.

Casts and copies of unique or rare objects were faithfully made so as to share with other museums and audiences, as well as to facilitate embodied interactions. Rare photographs and artworks were rephotographed and reprinted for display and dissemination, and photographs of objects were exhibited to ‘stand in for’ the real thing in displays, alongside rubbings, moulds, and paper squeezes. The replica or facsimile gained a value and status as simulacrum but also as an object that could more readily teach the body about its referent than the fragile original could ever do. Museums also acquired ‘fakes’, objects purporting to be something that they are not. These ‘fakes’ were often made by similar or even identical processes to those used by museum workers for experimental purposes, and distinctions between benign copies and malicious fakes were often lines drawn through the politics of gender and class (Briefel 2018). Some ‘fakes’ even gained notoriety—becoming collectable objects in their own right, and many ‘fakers’ went on to instruct museum professionals in the skills of their trade.

Not all copies were made inside the museum’s walls. Moulds for casts and paper squeezes were often made on colonial expeditions and involved the labour of many—often unacknowledged hands (Reynolds-Kaye 2022). As Foster has noted, ‘replicas embed many stories and embody considerable past human energy’. Thinking critically
about replicas and copies requires a commitment to recognising the networks of people and things—both within and outside of museum spaces—which made their production and circulation possible.

Experimental practices in museums have declined steadily over the years, and yet the products of this activity remain in collections in the present. Whilst distinctions between ‘authentic’ and copied objects have always existed in museums, the appetite for displaying copies and models for teaching and research purposes diminished rapidly in the second half of the twentieth century. Whilst some early practices such as the once celebrated cast galleries have become historical objects in their own right, they now mostly occupy ancillary rooms or corridors, except where they have become too integral to remove, such as most large dinosaur skeletons in natural history museums. And yet in recent years developments in 3D and computer modelling have bought replication back into the forefront of museum practice.

This two-day object and practise-based workshop brings together makers, academics, and museum practitioners to consider the nature and role of copies, casts, replicas and fakes in museums, the social and cultural practices that gave rise to them, what we can learn from them, and what museum futures they may have.

The project titled Museums and Gender, Protagonism of Women in Museums, developed between 2009 and 2016, and supported until 2011 by the Ministry of Culture of Spain, involved an analysis and museographic proposal from a gender point of view, with the aim of returning the protagonism of History to Women, as builders of culture and civilization. Within it, Didactica 2.0 Museos en Femenino involves the virtualization of a part of the project, with the aim of incorporating a gender perspective in museums as well as favouring equal education through itineraries, which have been pioneers in Spain. The article, will show the results of the research in the main museums -the Prado Museum, the National Art Center Reina Sofia Museum, the National Museum of Archaeology, the Costume Museum, the recommendations for improvement arising from the research, as well as the designeditineraries and their educational applications.

Community-based approaches in archaeology are poised to make an important contribution to the decolonization of the discipline. Archaeologists who are committed to this agenda are undoubtedly aware that community archaeology is a vibrant and growing research area, but the extent to which the practical aspects and interpretive impact of community archaeology are known beyond its adherents is unclear. This article reviews recent publication trends in highly ranked, international archaeology journals to determine if and what kind of community archaeology is reaching a discipline-spanning audience. The main finding of this analysis is that community archaeology occupies a dynamic but narrow niche within general archaeological scholarship. I argue that this pattern must be confronted and reversed if the transformative potential of community-based research is to be realized in archaeology.

Between 1939-1945 the Nazi Germany was the target of the Allied Bombing Offensive. The commanders of this operation against the Third Reich used the principles of the prewar theoreticians who were developing the theory of the strategic bombing. Between 1940-1945, Stettin was the area of the mass bombing. After seventy years of these events, the city hasn't any lieux de mémoire of the effort of the Allied crews. How the policy of bombing of Stettin was carried out by the Allies? What factors cause, that the memory about pilots fighting over the city is a troublesome question? How would the memory about those events influenced on quality of Polish-German relations?

This archive lists ~8000 Bronze Age British axeheads, alongside associated compositional analyses, isotopic measurements and radiocarbon dates. It integrates several major existing data collection efforts and published catalogues, whilst also providing a self-consistent basic typology. It is archived as four related flat-sheet text files and could be reused to support quantitative assessment of geographic and temporal patterns in metalwork style, deposition, recovery, hoard co-occurrence and/ or metallurgical compositions to name just a few salient topics.

Authors:
Andrew Bevan, Peter Northover, Peter Bray, Chiara Bonacchi, Sue Colledge, Rachel Crellin, Adam Gwilt, Heather Hamilton, Paul Hart, Robert Kaleta, Adi Keinan-Schoonbaert, Matthew Knight, Kathy Laws, Mark Lodwick, Marcos Martinón-Torres, Stuart Needham, Brendan O’Connor, Laura Perucchetti, Daniel Pett, Jennifer Wexler, Neil Wilkin

This article critically examines the future of Critical Heritage Studies (CHS) through the lens of language and non-Western ontologies. I argue that the Western-centric and future-oriented approach to heritage limits its ability to engage with diverse conceptualizations of heritage and time. Here, I explore the dominance of English in academic discourse and how this constrains the understanding of heritage. Drawing on examples from Igbo, Quechua, and Aymara cultures, the paper demonstrates how different linguistic and cultural perspectives can reframe heritage concepts, particularly notions of time and conservation. The article advocates for a more inclusive approach to CHS that acknowledges complicity in colonial practices, embraces vulnerability, and opens up to multilingual and multicultural understandings of heritage. It concludes by suggesting that reimagining the future of CHS lies in changing the language and the way we speak about heritage.

The "language of compliance" used in bioarchaeological reports has traditionally dehumanized the people represented by human remains. Because of this dehumanizing language, Indigenous communities prompted the development of "respectful terminology" to be used by bioarchaeologists when referencing the remains of their ancestors. While this terminology is not yet widely used, it is reflective of a greater ethical obligation within bioarchaeology to dignify and respect all human remains. Building from this respectful terminology and bioarchaeology's ethical guidelines, this essay uses textual analysis to emphasize the need for "humanizing language," share additional examples of (de)humanizing language, and advocate for the broad adoption of humanizing language in bioarchaeological reports. The essay begins with an exploration of the humanistic and scientific tension surrounding human remains and moves into an overview of the intersections between bioarchaeology, technical communication, and humanization. After a discussion of the study and implications, the essay concludes by framing humanizing language as a tool for social justice.

Nella nostra mente di persone mediamente colte la domanda che costituisce il titolo del mio intervento sembra richiedere una risposta ovvia: ad "esiste un paesaggio archeologico?" sembra naturale rispondere "certo, è evidente!", che cosa sono altrimenti Pompei, il Foro Romano, la Valle dei Templi di Agrigento? Tuttavia a questa risposta dobbiamo fare seguire una nuova domanda: che cosa si intende per paesaggio archeologico? Di sicuro la risposta che viene alle labbra di tutti è per l'appunto lo skyline della Valle dei Templi, o l'apparire degli acquedotti nella campagna romana, o i templi di Paestum o Pompei.
Sicuramente i tanti elementi utilizzati anche nella pittura.
Ma anche le tante tracce lasciate nella campagna padana.

Available online at: https://publications.acorjordan.org/books/petras-temple-of-the-winged-lions-vol-1/

This chapter summarizes project histories related to archaeological excavation, conservation, publication, and research on the Temple of the Winged Lions. Sources include the publications and archives of Philip C. Hammond and the American Expedition to Petra (AEP) (1973-2005) and the publications, reports, and digital archive of Temple of the Winged Lions Cultural Resource Management (TWLCRM) Initiative at ACOR (2009-2019). 1 For the AEP, much of the chapter is based on research by Pauline Piraud-Fournet (2020; Piraud-Fournet et al. 2021), whereas much of the TWLCRM background is based on published and unpublished reports that are summarized by John Green. The chapter serves as a prelude to the presentation of specialist reports and chapters in the volume.

L'evento è organizzato dall'Associazione Nazionale Archeologi. Si discuterà sul ruolo e la figura dell'archeologo nella Comunità, e verranno presentate le attività di archeologia pubblica svolte dal 2019 presso il sito palafitticolo ai laghi di San Giorgio e Santa Maria (Revine-Lago e Tarzo, TV).

Arkeoloji bir bilim dalı olduğu gerçeğini hızla yitirmektedir. Bunun ana iki nedeni; işsizlik ve defineciliktir. Bu iki neden birbirleriyle bağlantılıdır. Bilinçsizce tahribat yapan tarihi eser kaçakçıları ya da tarihin teröristleri, arkeolojik buluntulardan yola çıkarak çeşitli kültürleri anlamaya çalıştığımızı görmezden gelmektedir. Arkeolojik buluntuları sadece kazı yaparak ortaya çıkardığımızı ve kendilerinin de bu işi yapabileceklerini düşünmektedirler. Böylece geçmiş tarihi aydınlatmanın birer aracı olan arkeolojik buluntuları kendi bağlamından kopararak hem arkeologlara hem de arkeolojik bilgi birikimine zarar vermektedirler. Arkeolojik buluntuların zarar görmesine engel olan müze ve koruma kurulları gibi çeşitli devlet kurumlarında yeterli istihdam açılmaması zaten var olan işsiz arkeologlara binlercesini daha eklemektedir. Bütün bu olumsuzlukların arasında köprüsü kurmak zor değildir. Nasıl ki bir tohum bir fidanı, bir fidan bir ağacı, bir ağaç bir ormanın oluşmasına katkı sağlar; üniversitedeki arkeoloji bölümlerinde açılan fazla kontenjan, yetersiz istihdam ve bilinçsiz tahribat bir zincirin halkaları gibi birbirine eklenerek geçmişin çok yönlü araştırılmasını sağlayan arkeolojiyi bilim dalı olmaktan çıkarmakta, gerçekliğinin yitip gitmesine neden olmaktadır.

Het onderzoek "Jongeren in Beeld" richt zich op het vraagstuk hoe jongeren (12-30 jaar) betrokken kunnen worden bij archeologisch erfgoed in Nederland. Archeologie en erfgoed zijn van groot cultureel belang, maar de huidige participatie van jongeren binnen dit domein is laag. In samenwerking met de Rijksdienst voor het Cultureel Erfgoed heeft Past Forward onderzocht welke barrières en motivaties jongeren ervaren ten aanzien van deelname aan erfgoedgerelateerde activiteiten.

Het onderzoek, uitgevoerd via diepte-interviews en focusgroepen, biedt nieuwe inzichten in de belevingswereld van jongeren. Een belangrijke bevinding is dat jongeren wél interesse hebben in archeologie, maar dat de huidige presentatie en toegankelijkheid van het erfgoed vaak niet aansluiten bij hun behoeften. Jongeren willen op een interactieve en creatieve manier betrokken worden, waarbij technologie en sociale interactie een belangrijke rol spelen.

Op basis van de resultaten worden zeven concrete aanbevelingen gepresenteerd om jongeren actiever te betrekken bij erfgoed. Deze aanbevelingen zijn gericht op het moderniseren van participatiemethoden, het creëren van laagdrempelige activiteiten, en het benutten van digitale technologie om jongeren op een eigentijdse manier met erfgoed in contact te brengen.

Met dit onderzoek hopen wij de basis te leggen voor duurzame jongerenparticipatie in archeologisch erfgoed en het erfgoedveld te ondersteunen in het beter inspelen op de wensen en verwachtingen van de jongere generatie.

L’espansione della città di Roma al di fuori delle Mura Aureliane ha generato una vasta ed eterogenea periferia sostituendo l’assetto paesaggistico e funzionale che precedentemente la caratterizzava. Le strutture produttive e difensive realizzate nell’Agro romano durante il Basso Medioevo per il controllo delle campagne, distinte dalla presenza fortemente simbolica delle Torri, nella moderna periferia della Capitale sono dimenticati “ruderi” ai margini della vita quotidiana. La “via delle Torri” è un progetto dunque che permette di restituire la storia di venti siti archeologici della periferia sudorientale di Roma tramite un itinerario guidato sulla piattaforma izi.TRAVEL; grazie alla scoperta e alla riscoperta degli antichi protagonisti del territorio, i casali-torre, le comunità locali possono leggere con occhi nuovi i luoghi della loro quotidianità, riappropriandosi della storia di quelle strutture che connotano (spesso anche nella toponomastica) il proprio territorio.

In 1996 the Weddel Kaiti Freezing Works, on the east bank of the Turanganui river in Gisborne on the East Coast of the North Island, Aotearoa/New Zealand, was demolished to make way for log storage for the Port of Gisborne Ltd. This thesis documents archaeological material that was exposed and recovered during the demolition and uses those archaeological findings as signposts to develop an Annales interpretation of history in the Gisborne region. The area contains sites associated with many important historical events, including the landing of the Horouta waka, Maori settlement of the East Coast, Captain Cook's first landing in Aotearoa New Zealand, early whaling, trading, missionary and colonial military activities, the acquisition of sovereignty by the Crown from Maori, the founding of the City Gisborne and the construction of the Port of Gisborne and the Kaiti Freezing Works.

This qualitative study focused on college level physics teachers in India using semi-structured interviews and observations to explore their understanding about the relationship between practical works and theoretical work developing students" conceptual knowledge of physics. Recent studies indicate that practical work helps college science students easily and effectively learn the concepts and theories of physics. However, the college physics teachers in India in this study did not provide students with practical work during classroom teaching. Rather, they provided practical work in separate practical classes. Although the teachers believed that practical work made their teaching and also students" learning easier and effective, they did not offer frequent practical demonstrations in teaching the contents of physics.