Theorising Thedas: The Bog Unicorn

“Another series, Alex? Don’t you have enough to write about?” Yeah, well, I’ve also been playing a lot of Dragon Age: Inquisition so excuse me if I have a lot to say about archaeology in the video game series. “Theorising Thedas” will be a look at how archaeology plays a major role in the conflicts of Thedas, the world in which the Dragon Age series takes place. We’ll also be looking at examples of real world archaeology within the series – like today’s topic, the Bog Unicorn!

Dragon Age™: Inquisition_20180122194159
The Inquisitor atop the Bog Unicorn, a DLC mount available in Dragon Age: Inquisition.

In the 2014 video game Dragon Age: Inquisition, you play as the Inquisitor who heads the latest Inquisition against an army of demons and heretics. As the leader of such a massive organisation, your character is able to get supplies and aid from all corners of the world of Thedas, including some incredibly fantastic and exotic mounts. One of these mounts is known as the “Bog Unicorn” – a horse that had been preserved in a bog environment that has been brought back to life by the sheer power of the spirit. Although the game does not go into much more detail regarding the backstory of the Bog Unicorn, the design of the mount somehow manages to hit a lot of really interesting points about the phenomenon of “bog bodies” in real world archaeology. So let’s break it down…

To start, what is a “bog body”? In short, it is a body that has been preserved within a bog due to the acidic and anaerobic conditions of the surrounding environment. Bog bodies have been recovered since the 17th century. Prior to focusing on the conservation of archaeological finds, most bog bodies were either discarded or, in some cases, ground up into a medicinal powder called “mumia”.

There has been an observed phenomenon of recovered bog bodies across parts of continental Europe, with additional cases found in Ireland and Britain. Most of these bodies have been dated to around the Iron Age, and many have been observed to have characteristics that may reflect a violent death (sometimes referred to as “overkill”). This has led to one interpretation of bog bodies representing those who were killed as part of a ritualistic sacrifice or as a punishment.

178965-004-052559FD
The Grauballe Man, an Iron Age body recovered from a bog in Denmark (Photo Credit: Sven Rosborn)

The design of the Bog Unicorn manages to convey a lot of detail about bog bodies without actual textual explanation. For example, let’s take a look at the physical appearance of the mount. The Bog Unicorn is not skeletal, but has what appears to be a dark, leathery hide covering its body. Its hair is also a strange, rust red colour.

As you can see from the photo above of an actual bog body, this is the typical appearance of organic material that has been preserved within a bog. Sphagnum, released once bog moss dies, is the agent that causes the “tanning” effect on any soft tissue – this is what causes the colouration in both skin and hair found on bog bodies.

Found-A-14th-Century-Sword-Dropped-in-a-Peat-Bog-758x505
A 14th century sword found in a peat bog in Poland (Photo Credit: Muzeum im. ks. Stanisława Staszica w Hrubieszowie)

Another noteworthy detail in the Bog Unicorn’s design is the sword thrust through the horse’s head, creating the “unicorn” effect – this is perhaps a nod to another phenomenon in the archaeology of bogs and other watery environments. Water has often been considered a liminal space (in other words, a sort of boundary or in-between place), as well as a source of life. It is possible that the deposition of remains in watery environments reflects a belief in water as a pathway to the spirit world, or perhaps more indicative of cyclic beliefs in regeneration and fertility. Weapons and other artefacts have also been noted to be recovered as deposits from water – possibly used as proxies for the human body in a ritual? It should also be noted that many weapons that are deposited in this way are often fragmented or ritualistically broken, perhaps to mark a sort of “death” of the object.

To wrap this discussion up, let’s move on from the physical appearance to talk more about intent. The Bog Unicorn, in the lore of the game, is explained to be a restless force that has moved beyond death to serve again. In other words, the Bog Unicorn is between life and death, floating somewhere in the middle as a sort of undead creature. To represent such a force as a preserved corpse from a bog is actually quite fitting, especially when one considers how a bog body is basically suspended between life and death (or at least, decay). As mentioned above, watery environments appear to have been identified as a liminal space – bogs even more so, as they were sort of in between land and water. If we take into consideration that bog bodies were part of a “punishment” involving their ritualistic killing, it might be that this liminal space proved to be the final, posthumous punishment – unable to decay and “pass on”, these bodies were left preserved, floating in some natural purgatory. But even if that’s all conjecture, there is still something so perfect about having a Bog Unicorn, who is between life and death, this world and the next, be your spectral-yet-physical steed for a battle that takes place between our world and the spirit world.

References

Aldhouse-Green, M. (2015) Bog Bodies Uncovered: Solving Europe’s Ancient Mystery. Thames & Hudson.

Anonymous (2015) The “Bog Unicorn”. Dragon Age Wiki. http://dragonage.wikia.com/wiki/The_%22Bog_Unicorn%22

Bioware (2014) Dragon Age: Inquisition.

Bradley, R. (2017) An Geography of Offerings: Deposits of Valuables in the Landscapes of  Ancient Europe. Oxbow Books.

Bruck, J. (2006) Fragmentation, Personhood, and the Social Construction of Technology in Middle and Late Bronze Age Britain. Cambridge Archaeological Journal 16(3), 297-315.

Giles, M. (2009) Iron Age Bog Bodies of North-Western Europe. Representing the Dead. Archaeological Dialogues 16(1), 75-101.

van der Sanden, W. (1996) Through Nature to Eternity: the Bog Bodies of Northwest Europe. Batavian Lion International.

Advertisements

Troweling Theme Parks: The Many Layers of Recycling in Archaeology

If I were an archaeologist in the future excavating the Disney theme parks and attempting to contextualise periods of time  (and let’s be honest, I wish I was!), I’d argue that you could create a series of periods based on attraction typologies; that is to say, you could create a system of “ages” based on the kind of attraction that was created at the time. From the early “Dark Ride Ages” to the more recent “Simulation Age”, it might be easy to use technological advances to date the theme park ruins. But what if they reused some parts of a 1960’s dark ride for a 2010’s simulation ride? How do we deal with sort of “recycling”?

307113610914_ml
(Photo Credit: Own the Magic)

When an attraction at one of the Disney theme parks is closed and dismantled, any of the unusable pieces get scrapped. As for the remaining material, there are two options: either it gets sent to the “Boneyard”, or it gets recycled. The Disney Boneyard is basically an empty lot where attraction parts go to rust into obscurity…in some cases, however, these parts can find their way to auction bids for dedicated Disney fans. Attraction recycling, on the other hand, can be seen in a number of ways: pieces can be re-fitted for other attractions, used for decoration, or even placed as small Easter eggs for eagle-eyed guests.

dawda
“The Swamp Boys” in their original roles in America Sings (left) and in their current spot in Splash Mountain (right) (Photo Credit: Yesterland, Werner Weiss & Allen Huffman)

As a big business corporation at heart, it shouldn’t be surprising that Disney often ends up recycling defunct attraction pieces – after all, why waste a good animatronic? There are many examples of this throughout the theme parks, but one of the most easy-to-spot is arguably the Splash Mountain animatronics. Many of the singing animals found in this attraction have actually been recycled from the defunct America Sings, an attraction from the 1970’s starring a large cast of animatronic animals performing in a musical revue of classic American standards. Given the southern setting of America Sings, the recycled animatronics barely needed much changing to fit into Splash Mountain‘s cast of animals.

A CDA employee from Monsters Inc. – Mike and Sully to the Rescue! (left) and its original incarnation as Drew Carey in Superstar Limo (right). See the resemblance? (Photo Credit: Davelandweb.com)

A less blatant example of recycling animatronics can be found at Disney’s California Adventure theme park. When the park first opened in 2001, one of the opening day attractions was heavily maligned Superstar Limo – a dark ride through Hollywood, with a plethora of celebrity cameos along the way. The attraction garnered so much negative attention that it was closed after less than a year of operation, eventually reopening in 2005 as Monsters Inc. – Mike and Sully to the Rescue!. However, most – if not all – of the animatronics from Superstar Limo were repurposed for the new Monsters Inc. attraction. And although these animatronics were given new cosmetic makeovers to fit into the new dark ride, they are still pretty recognisable as their old characters. For example, compare the above photos of a Drew Carey animatronic before and after recycling – different look, but the pose and movement is still exactly the same! Its hard to blame Disney, however – why change a whole animatronic’s programming? It sounds like a fair amount of work…but hey, I’m not an Imagineer.

What fascinates me most about recycling in theme park attractions is the layers of experience that reuse ultimately creates, specifically for those who have encountered these show elements in their original incarnations. How strange it must be to recognise an animatronic that was once a singing goose and is now repurposed as a Star Wars droid! Even without recognising the reused piece in question, it is often easy to notice when a slightly outdated model is retrofitted into a modern day attraction.

So, what does this have to do with archaeology? Well, the recycling of artefacts in the archaeological record is more common than you’d think – and older than you’d think as well.

Up until the 20th century, the most common form of recycling was in simple repair – a broken tool could be mended with additional material and reused again and again until broken again, then the cycle would continue: break – mend – reuse. However, for the particular case of recycling material from the archaeological record (rather than material that has yet been deposited into the record), Michael Schiffer has use the term “reclaimation process” to describe how material is removed from the archaeological context and brought back into the “living” context.

Reclaimation is often found with crafting – for example, Late Bronze Age sites in Kition, Cyprus, have evidence of bronze material that was recycled from grave goods from nearby tombs. Lithics found in many sites have also shown some form of reclaimation, often through being flaked again by later inhabitants and creating a phenomenon known as a “double patina”, which makes the act of reclaimation more observable to archaeologists.

By the start of the 20th century, industrialisation allowed for the over production of objects, making it easier to simply buy a new object to replace a broken one, rather than mend it. This caused a shift to “downcycling” – breaking broken or discarded objects into raw materials to create completely new items.

Today, downcycling is still one of the main processes of recycling, although recent movements towards environmental friendliness and DIY culture have led to a bit of a return to learning how to mend and reuse objects by hand. Given the technological advances in recycling material – as well as the relative speed by which recycling can happen – it makes me wonder how future archaeologists may be able to distinguish recycled goods in the archaeological record.

References

Amick, D.S. (2015) The Recycling of Material Culture Today and During the Paleolithic. Quarternary International 361. pp. 4 – 20

Josh. (2013) Where Do Rides Go When They Die? Disneyland Report. http://disneylandreport.blogspot.co.uk/2013/07/where-do-rides-go-when-they-die.html

Karageorghis, V. and Kassianidou, V. (1999) Metalworking and Recycling in Late Bronze Age Cyprus – the Evidence from Kition. Oxford Journal of Archaeology 18(2).

Perjurer, K. (2018) Defunctland: The History of Disney’s Worst Attraction Ever, Superstar Limo. YouTube. https://www.youtube.com/watch?v=Q2L-bZiqckM

Schiffer, M. (2010) Behavioural Archaeology: Principles and Practice. Equinox.

Weiss, W. (2016) America Sings. Yesterland. http://www.yesterland.com/amersings.html

Weiss, W. (2016) Superstar Limo. Yesterland. http://www.yesterland.com/superstarlimo.html

Studies in Skyrim: Werewolf? Therewolf! Can We Find Lycanthropy in Archaeology?

“Legends can take a life of their own, particularly when there are grains of truth, as here we have the very real threat of werewolves”

Lycanthropic Legends of Skyrim, Lentulus Invenitus

Werewolves

In the world of Skyrim, werewolves (and other lyncanthropes – for example, were-bears!) exist. Within the lore of the game, lycanthropy was created by the Daedric Prince (in the Elder Scrolls universe, the Daedric Princes are basically deities) of the Hunt, Hircine. The power to transform into a werewolf is seen as both a blessing and a curse to some characters – while the player can meet unfortunate souls who are tormented by their beastly curse, there are others, such as the Companions, who use and spread their power as a gift to members of their group. Regardless, nearly all non-playable characters within the game will be fearful and hostile of werewolves, illustrating a deep fear of such beasts embedded into Skyrim‘s culture.

In the real world, werewolves can’t be found in person as easily as they can be in Skyrim, but they are still prevalent in both myth and media. From the 1941 film The Wolf Man to the 2011 television hit series Teen Wolf, the werewolf has a long history of terrorising people, from our imaginations to the big screen. Werewolves can be found in the folklore of many cultures across the world, with a rich history that stretches as far as ancient Greece. In general, a werewolf is defined as a person who has transformed into a wolf – however, effects of the moon (i.e; full moon transformations) and particular powers vary across myths.

Most of this information has been derived from studying written texts and oral histories. But can we see this in the material culture of the past? Not necessarily in the guise of the “werewolf” that modern audiences are familiar with…but perhaps we can explore the individual elements that, together, create the werewolf of popular fiction.

The Ardross Wolf, a Pictish stone carved with the image of a wolf. (Photo Credit: The Highland Council, Museum and Art Gallery)

Wolves are not uncommon as artefactual iconography – across many cultures, one can find wolf motifs decorated various objects and ornamentation. For example, there are many instances of wolves depicted on artefacts of warfare in Iron Age Europe – from the rare carnyx (Celtic trumpet used in war) created to look like the head of a wolf, to armour decorated with ferocious animals of the wild, including wolves. There are also examples of wolf iconography on other artefacts, usually depicting the wolf in a natural scene, such as in the pursuit of prey, or as the victim of hunting by humans. Whether in war and peace, it can be argued that depictions of the wolf are centred on similar traits: wild and dangerous.

A burial from the Aztec’s Great Temple that included the remains of a wolf alongside gold artefacts (Photo Credit: Mirsa Islas, Templo Mayor Project)

Actual skeletal remains of wolves are, of course, found as part of the overall environmental narrative found within certain archaeological contexts. In many places, such as Great Britain, wolves are extinct, which makes the recovery of their remains an interesting development for interpretation. More interesting, perhaps, are examples in which there is evidence of the utilisation of wolf remains. During the Iron Age in Europe, there is some evidence that suggests that wolves were hunted and then eventually used as ornamentation, such as the perforated wolf teeth found at the site of Choisy-au-Bac in France. Recently, excavations at an Aztec temple in Mexico City has recovered the remains of a wolf surrounded by a large collection of golden artefacts – the current interpretation is that the wolf was part of an offering, and was adorned in gold prior to burial. Additionally, excavations in parts of Siberia have found wolves that had been buried in a manner similar to what would have been afforded to humans, suggesting that wolves and humans were considered similar in some aspect – perhaps similar to the kinship felt between dogs and humans?

117195169
A panel from the Gundestrup Cauldron showing a Wheel God surrounded by various hybrid animals (Image Credit: Wikipedia)

If we consider the “werewolf” as a sort of hybrid creature, more archaeological material becomes available for consideration. Instances of hybrid creatures iconography are often associated with folklore and mythology – take, for instance, Medieval bestiaries or Egyptian statuary depicting sphinxes. The Gundestrup cauldron, a “cult cauldron” from Iron Age Denmark, is covered with an entire zoo of faunal iconography, both real and fantastical. These animals are portrayed with figures that have been interpreted as gods, thereby suggesting the religious significance of the artefact. Some of the more fantastical creatures are hybrids, including winged horse-like beasts and serpents with ram horns.

hith-Duropolis-1-skeleton-E
The remains of an adult female buried with horse and cow remains from “Duropolis” in Dorset, England (Photo Credit: Bournemouth University)

As for skeletal remains, one can argue that we do see “hybrids” in the form of mixed assemblages of human and faunal bones – but it must be stressed that it does not mean that all instances of mixed burials represent ideas of hybrid creatures (although there are examples of what may be intentional hybridisation!). Instead, it may be more beneficial to examine these burials as possibly representative of ancient cosmological ideas regarding animals, or alternatively, how humans at the time related to the animals deposited alongside human remains. There are many examples of these mixed burials in archaeology, sometimes referred to as “special deposits” or “associated bone groups” and often considered part of ritual. The Iron Age site of Danebury is especially noteworthy for mixed burials of human and faunal remains recovered from pits, possibly used for rituals of fertility and renewal.

So, okay…maybe we can’t find werewolves in archaeology (although please let me know if there are actual instances of lycanthropic iconography that I’ve missed!). But it did provide an excellent exercise in thoroughly investigating a concept by isolated certain elements of it, which is often an important aspect of developing archaeological interpretations. Luckily (or maybe unluckily) for future archaeologists, modern day pop culture will certainly leave behind many instances of werewolf memorabilia to uncover.

References

Anonymous. (2016) Werewolf (Skyrim). Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Werewolf_(Skyrim)

Beresford, M. (2013) The White Devil: The Werewolf in European Culture. Reaktion Books.

Bethesda Game Studios. (2011) The Elder Scrolls V: Skyrim.

Cunliffe, B. (1992) Pits, Preconceptions, and Propitiation in  the British Iron Age. Oxford Journal of Archaeology 11 (1). pp. 69-83.

Garcia, D.A. (2017) Aztec Golden Wolf Sacrifice Yields Rich Trove in Mexico City. Reuters.

Green, M. (1998) Animals in Celtic Life and Myth. Routledge.

Hill, E. (2013) Archaeology and Animal Persons: Towards a Prehistory of Human-Animal Relations. Environment and Society: Advances in Research 4. pp. 117-136.

Hill, J.D. (1995) Ritual and Rubbish in the Iron Age of Wessex: a Study of the Formation of a Specific Archaeological Record. Archaeopress.

 

When the Stress of the PhD Meet The Anxiety of the Visa: On International Postgraduate Studies, Financial Anxieties, and Everything Else That Scares Me

This week I had scheduled a different blog post to be published, but I felt as though it didn’t seem right to not write about something that has been on my mind lately.

And by “lately”, I mean “for the past few years”.

As many, if not all, of you know by now due to reading this blog and/or following my daily Twitter rants, I’m an international student. Since moving to the U.K. in the autumn of 2015, I have been on two different visas and had spent lots of loaned money to maintain my residence here.

There’s recently been a lot of discourse surrounding the precariousness of early career jobs in academia, and for good reason – the further marketisation of higher education is leaving more and more post-PhDs out in the cold with only poorly paid, short contract jobs to live on. Those of us in the middle of PhD research have extremely bleak futures ahead of us if this continues.

What hasn’t gotten as much attention (at least, as far as I have seen) is the plight of those of us who are battling the dire circumstances of the academic job market and the burden of being international.

Let me first say that despite the difficulties I have faced, I am undoubtedly one of the luckier ones. I’ve had the ability to take out federal student loans to cover my costs, as well as financial help and general support from friends and family from both sides of the Pond. Coming from the US, I most likely had less hoops to jump through to get my visa, in comparison to many others.

But that doesn’t mean it isn’t a huge burden on my life. Besides worrying about my current PhD work and the near future of having to look for postdocs afterwards, I also constantly have to worry about meeting the conditions for my visa.

Will I have enough money saved up to afford all of the fees for applying for a Tier 2 visa? What if the NHS surcharge continues to double, as it is scheduled to do in the upcoming year? How many days have I spent outside the UK and is it enough to eventually deport me?

International academics are expected to constantly keep track of these ever changing laws and policies, which results in many of us in constant fear of the Home Office, even if we have filled out all the paperwork needed and have everything taken care of. It’s so easy for them to make a small change that will turn out world upside down!

That sounds like an exaggeration but I’ve experienced it myself. Progressing from my MSc to my PhD, I was, at the time, still on my first visa from the Masters programme, which wouldn’t expire for another 6 months. Prior to this, the rule was that you could apply for a new visa within the U.K. as long as your current visa had not expired. Unfortunately for me, this had recently changed, and so I was booking an extremely last minute flight back to the US to apply for a new visa. A couple thousand pounds later, and I was sorted with a new visa – but financially, I have yet to truly recover from that last minute trip.

And, of course, it’s not just about the financial burden, either. Contrary to popular belief, most of us who study and live in the U.K. for several years end up cultivating a life and family here. That the Home Office (and other institutions apparently) believe we can uproot our lives, tear ourself away from the people we love and abandon the places we call home, just because we lack the funds to match the ludicrous fees and financial objectives, is utterly ridiculous at best and outright evil at worst.

I have spent many nights, awake and afraid, obsessively reading the guidelines for visas and immigration laws. As someone who already has depression and anxiety, this has caused my mental health to often dip dangerously low, to levels I haven’t experienced since prior to being diagnosed and medicated. But it’s a real, tangible fear that many academics, who already experience the burdens of a hostile environment in higher education, always have on their minds alongside every other problem.

Unfortunately, I can’t really offer any answers or advice for this sort of thing. It’s an issue that, alongside precariousness of early academic careers, must be talked about more in the public discourse. And I guess that’s all I can do, really – tell my story, remain public about the challenges I face, and hope that I can at least be one voice that won’t shut up about this problem.

To end this rather unfunny and serious blog post (shocking, I know, but I applaud anyone who has made it this far), I just want to point out a few great resources for more information on precarity, mental health issues, and international academic costs:

  • The Mental Illness Factory – A great piece by Mimi Petrakis on the current mental health epidemic in academia, especially for postgraduates
  • The Precarious Postdoc – Some really valuable research by Sophie A. Jones and Catherine Oakley who have been interviewing and surveying the situations of postdocs in the humanities and social sciences.
  • International and Broke– A fairly new Twitter account run by international academics employed in the U.K. that shares stories of the difficulties that other international academics have experienced in trying to stay and work in the country.

A Few Tips for Conferences When You’re Super Anxious All the Time Like Me

Hi, it’s your friendly neighbourhood academic with anxiety here to talk about one of the scariest things in academia: conferences! Unfortunately for many of us, “traditional” academia requires that we make appearances and presentations at conferences (even though they’re expensive…and we don’t always get the financial help needed to attend…and it takes time off from our research which is already limited to a specific time frame…well, that’s a conservation for a different day).

At this point in my life I’ve attend many conferences. I’ve also presented at many conferences, both papers and posters. And there’s definitely been a range of experiences throughout…from getting so nervous during a paper presentation that I start making self-deprecating jokes that fall flat and make things a million times worse, to giving such a great paper that I actually receive a couple of collaboration opportunities from it.

So with conference season in full swing, here are some tips from my own personal experience on how to best combat anxiety and stress in a conference environment:

A recent conference poster I created and presented for last year’s Association for Environmental Archaeology (AEA) Conference.

Bring a Friend/Co-Author

Probably one of the easiest ways to make going to conferences less stressful is to have a friend or supportive colleague with you. You could see if any peers in your department want to co-author a paper/poster or tag along – splitting the costs will make things cheaper, plus you have someone you at least know around (and can maybe get to know a bit better, too!).

If I’m travelling solo, I will usually make a beeline for people I recognise during tea breaks – usually that’ll get you introduced to a couple of other people, which I will promptly add to my mental compartment of “People Who I Will Cling Onto If I Don’t Know Anyone Else“. While its great to network and make connections with people outside of your institution, its also good to develop a friendly and supportive group of similarly minded people that are on similar conference circuits as you – it definitely makes finding seats at lunch less awkward, that’s for sure.

Recently, I actually managed to convince a friend from the US in a completely unrelated field (creative writing) to co-author a paper for last year’s Theoretical Archaeology Group (TAG) conference. I’m not sure if I would have been as calm presenting my paper in front of some of the most important figures in my field of research without her by my side.

Nothing like tricking a non-archaeologist friend into writing and presenting an archaeology paper with you!

Take Advantage of Scheduled Social Events

Many conferences will also include events, like field trips and dinners, alongside sessions. If you have the means to attend one of these events (unfortunately most cost money), they could be low-key, informal environments to socialise with other conference attendees. For example, field trips to local museums and monuments can provide great ice breakers for conversation among academics you don’t know.

I’ve had some excellent luck where I’ve gone on a conference field trip, made friends with some attendees, and had them come to my session the following day for support – it really helped to see some friendly, familiar faces in the crowd!

Plus, it’s just nice to see the sights – here’s me taking time off from a conference in the Orkneys to visit Yesnaby.

Remember to Get Their ‘Deets’!

This is mainly a tip for general networking, of course – but if you end up connecting with attendees during the course of the conference, be sure to swap contact information. I’ve ended up staying in touch with many people I’ve met through conferences, which has led to the increase in familiar faces in my audiences when I’m presenting papers. Of course, there’s also opportunities for future collaborative research (and, if you’re really fortunate, employment) with people you meet at conferences, so you’ll definitely want to be able to keep in touch somehow.

It may seem a bit silly and unfashionable these days, but it can still be handy to have a few business cards on hand! Exchanging business cards with someone is an easy way to quickly get contact information, or to introduce yourself without awkward small talk – plus, it feels very adult and cool. Many universities have business cards available for postgraduate students, but if yours does not, there are many cheap options online for printing your own.

Eat your heart out, Patrick Bateman. Maybe not literally, though.

Look into Alternate Conferences

If you’re looking into presenting at a “traditional” conference (read: in-person conference with poster and paper sessions in front of other academics) and are nervous about speaking in public, I would suggest you start with submitting and presenting a poster. In most cases, I’ve found that poster presentations won’t give you the impression that you’re being left to the mercy of a huge audience the way that paper sessions might. There’s still a bit of public speaking involved, of course, but its certainly a bit more informal than presenting a paper.

If that still feels a bit daunting (and I don’t blame you, believe me!), you could also look into something that’s recently become more common – alternate conferences! In response to the financial and environmental burden of “traditional” conferences, many academics have been experimenting with alternative approaches. For example, Twitter conferences have become more popular recently; for example, look through the #CAATCO hashtag to read through paper presentation from the CAA Twitter Conference, which was held in conjunction with a more traditional conference.

For those with anxiety, alternative conferences that allow you to present papers in a safe and comforting place, such as the comfort of your own home, may be a good compromise. With more academics looking to utilising the Internet to its fullest potential, these kinds of conferences may become more prevalent in the next few years – stay tuned!

I recently presented a paper at my very first Twitter conference hosted by the CAA (Computer Applications in Archaeology) – and did so while riding a bus! Super easy.

No One Knows Who They Were or What They Were Doing: The Many Stonehenges of the United States

In ancient times,
Hundreds of years before the dawn of history
Lived a strange race of people, the Druids
No one knows who they were or what they were doing
But their legacy remains
Hewn into the living rock, of Stonehenge
Stonehenge, This is Spinal Tap
“Are you telling me that this is it? This is scenery? Have you ever been to Stonehenge?”
Stonehenge is arguably one of the most iconic archaeological sites in the world. It stands as a testament to the ancient past, as well as the enduring mystery that shrouds the site which still captivates the general public today. As with all iconic imagery, of course, Stonehenge has been emulated, reformatted, and straight up copied in places around the world.
In the United States alone there are over two dozen Stonehenge-related roadside attractions. Some are faithful reproductions…others have taken, let’s say interesting liberties in their reinterpretations…and well, there’s a few places that just found a bunch of rocks and named it a Stonehenge. Here’s a couple of my favourite examples…anyone up for an American Stonehenge road trip?
American Stonehenge – Apparently anything made of stones is ancient Druid stuff – who knew?
American Stonehenge
I’ve written a more comprehensive post about this allegedly “ancient” Stonehenge previously on the blog. The owners of the site claim that, similar to the Stonehenge in England, ancient European seafarers made the journey to North America and built a twin in Salem, New Hampshire of all places. Evidence for this theory exists in “Ogham” and “Phoenician” carvings found in the stone. In actuality, American Stonehenge (aka Mystery Hill) is most likely the remains of stone farm storage that has been transformed into a roadside attraction. But hey! There’s an alpaca farm too, so that’s fun.
boathenge
Boat Henge – I’d wager you could have probably guessed that even without that giant text. (Photo Credit: Boathenge.net)
Boat Henge
Over in Missouri, we have our first (of many) transportation-based Stonehenges. Boat Henge is, as you may guessed by the name, is made entirely out of fiberglass boats. According to the official website, similar attention was paid to the mathematical and spatial correlation between the engineered arc of the boats and how it is orientated with the sun – in fact, the boats themselves are measured to about the same size as the stones of the original Stonehenge.
Car Henge – slightly more accurate than its boat-based sibling. (Photo Credit: Aaron Belford)
Car Henge
In Alliance, Nebraska is another transportation-based henge…also arguably one of the more accurate reproductions. Car Henge was created by artist Jim Reinders as a tribute to his father and completed construction on the Summer Solstice of 1987. Reinders spent much of his time living in England studying the construction of Stonehenge, which led to this relatively faithful creation in Nebraska. Following the same proportions of Stonehenge, Car Henge is created with 39 different automobiles, with the heel stone represented by a 1962 Cadillac.
foamhenge-0[6]
Foamhenge – One of the most faithful reproductions that can literally be built in a day! (Photo Credit: LargeGuy1 on Flickr)
Foam Henge
Foam Henge is an art installation constructed in Natural Bridge, Virginia in 2004 and eventually relocated to Centreville, Virginia in 2017. Created by fiberglass sculptor Mark Cline, it is a reproduction of the original Stonehenge made entirely out of…wait for it…foam. Cline work with a former tour guide from England to make sure that the stones were replicated perfectly in foam. Given how light and easy the material is, it only took two days to create and erect Foamhenge.
06truckhenge01
Truck Henge
In Topeka, Kansas, artist Ron Lessman has added his personal reinterpretation of Stonehenge in the form of six trucks. Truck Henge is the centrepiece of a larger collection of Lessman’s other recycled artworks. And you thought massive stones being erected was impressive…what about giant antique trucks?
A452,_Carhenge,_Alliance,_Nebraska,_USA,_central_cars,_2016
As silly as it may be…how cool are these Stonehenges? (Photo Credit: Brian W. Schaller)
I have always been fascinated by what archaeological excavations of roadside attractions and tourist traps in the future would be interpreted as, especially when they are reproductions of other iconic things (especially when they are reproducing short-term nostalgia, i.e. classic cars, etc.). Will nostalgia and kitsch require a different framework by archaeologists? Stay tuned for more discussion at a later date…
References
Anonymous (2018) History. Boathengehttp://www.boathenge.net/history.html
Anonymous (2017) History. Carhenge of Alliance, Nebraska. http://carhenge.com/history/
Kaushik (2013) Foamhenge – Stonehenge Replica in Virginia Built of Styroform. Amusing Planethttp://www.amusingplanet.com/2013/02/foamhenge-stonehenge-replica-in.html
Kirby, D., Smith K., and Wilkins, M. (2018) America Unhenged. Roadside America. https://www.roadsideamerica.com/story/29025
Reiner, R. (1984) This is Spinal Tap. Embassy Pictures.
Stokes, K. (2006) Ron Lessman’s Truckhenge. Kansas Travel. http://www.kansastravel.org/truckhenge.html

Bones That Look Like Other Bones: A MiniPost About Rabbits and Hares

Note: Is it morbid to look at rabbit and hare skeletons on Easter? Maybe. But more importantly, please remember that caring for rabbits as pets is a commitment – don’t buy them as an Easter Day gift for kids if you’re not committed to caring for them! More information can be found here.

So, moment of truth: how long did it take you to realise that rabbits and hares are two different animals? I’m pretty sure I was hitting double digits in age before that dawned on me…embarrassing? Maybe. But it’s an easy mistake to make: rabbits and hares look extremely alike! And that’s not just limited to their outsides either…today’s mini comparative anatomy post is about the bones of hares and rabbits!

Good rule of thumb with differentiating between hare and rabbit bones is to look at the size of the bones – hares are generally larger than rabbits. This is definitely noticeable just looking at the skulls of a hare (on the left, above) and a rabbit (on the right, above).

Hares also have larger, stronger hind legs, which can also be easily seen when you compare these bones to rabbit bones – in the above photo, are two femora, with the larger and more robust femur belonging to the hare.

Despite being from different species, however, both rabbits and hares do share similar physical traits in their skeletons, with explains why some archaeologists may have some confusion when it comes to differentiating between the two (for example, compare the two tibia bones above – besides the difference in size, they’re rather similar!).

If you’re interested in more archaeological work on hares, check on the Exploring the Easter E.g. project undertaken by the AHRC and the University of Nottingham!

References

Elena, S. (2008) Rabbits and Hares: No More Confusion! http://www.orcca.on.ca/~elena/useful/bunnies.html

Langley, L. (2014) What’s the Difference Between Rabbits and Hares? National Geographic. https://relay.nationalgeographic.com/proxy/distribution/public/amp/news/2014/12/141219-rabbits-hares-animals-science-mating-courtship

What is Old is New Again: Pseudoarchaeology

In his book Green Man: the Archetype of Our Oneness with the Earth (1990), William Anderson makes a point to say that neo-pagans want “every tradition to be as ancient as possible”. Contrary to what some may believe, however, we do not see a lineage of witch religion historically or archaeologically that can be traced to the modern practices. Note that this post is specifically discussing Western traditions that are practised commonly in the United States and Europe.

Many modern covens attempt to connect their practice of witchcraft or neopaganism to an ancient and forgotten cult surrounding a particular deity – examples of this include the goddesses Aradia (popularised by Charles Godfrey Leland) and Diana (popularised by Margaret Alice Murray and continued through feminist-driven “Dianic” covens and cults).

Another point of origin that many British and European covens claim is during the “Great Witch Hunt” that took place in Europe between the 16th and 18th centuries, which is believed to be a period of mass executions (Silvia Federici places the number of women killed in the hundreds of thousands) of so-called “witches”. Among historians, this is a topic of great debate. For starters, it is not known exactly how many executions of witches there were in Europe at this time, nor if the 300 years of executions was the result of organised, focused campaigning, periodic executions in various places over time, or a combination of the two. The actual reasons behind the executions are also not fully understood: some suggested catalysts include the increasing power of organised religion, social hierarchies that left women, the elderly, and the poor in danger of being accused of witchcraft, and similarly, the rise of rural capitalist systems that would ultimately cause those of low status to be punished through accusations of witchcraft. Many feminist historians have pointed out that other historians may downplay the role of gender in the witch hunts, as well – although men were occasionally accused of witchcraft, it appears that the majority of victims were women. Unfortunately, a lack of written evidence – especially from the viewpoint of the accused – makes discerning the reasons and politics behind these “witch hunts”, as well as the actual statistics, very difficult and perhaps even impossible to fully comprehend.

Whether or not there was indeed a continent-wide campaign against witches that resulted in the deaths of hundreds of thousands of people, it should also be noted that there is no textual evidence to support the claim of organised covens that have survived to this day and age. Most records of modern covens appear to go as far back as the 1940’s, but any history prior to that is based only on unsubstantiated claims.

So why turn to pseudoarchaeology? Within neo-paganism and witchcraft, there is an emphasis on lineage – that having a coven that can trace its roots back to ancient times adds to one’s prestige and legitimacy. Gerald Gardner, arguably the forefather of modern Wiccan tradition, claimed to have been part of a secret coven that had existed since the historical pagan times in Britain.

There is also a political angle to many claims of lineage by various traditions and covens. Many Dianic covens that grew out of feminist theory from the 60’s and 70’s have adapted modern radical feminism that specifically excludes transwomen. Groups that practice Heathenry or other Norse-based traditions that have also become part of alt-right and white supremacist movements will often exclude people of colour or those without Scandinavian heritage from their groups.

Although many neo-pagans and witches still maintain their ancient lineages, despite evidence to the contrary, there is a growing number of modern day practitioners who instead embrace the fact that while their beliefs and practices are certainly inspired by elements from the past, they do not have to have an ancient lineage to be “legitimate”. On a personal note, I agree with this sentiment – I think modern day practitioners seek legitimacy, even through pseudo archaeological research, as their beliefs and practises are often derided by others, and I certainly can sympathise with the feeling. However, pseudoarchaeology is a harmful practise that most often affects the histories of marginalised folx for the gain of the privileged and I think there is a duty for archaeologists to investigate instances of “fake news” so to speak, not just for the reputation of the field, but also as a means of removing white supremacist and colonial ideologies from the discipline as well.

For those looking for more information on pseudoarchaeology, there is a great primer written by Stephanie Halmhofer at her blog.

References

Anderson, W. (1990) Green Man: the Archetype of Our Oneness with the Earth. Harper San Francisco.

Federici, S. (2004) Caliban and the Witch. Autonomedia.

Hutton, R. (1995) The Roots of Modern Paganism. Paganism Today. Thorsons. (p. 3-15)

Hutton, R. (2017) The Witch: A History of Fear, from Ancient Times to the Present. Yale University Press.

Rella, A. (2018) Circling the Star. Gods & Radicals Press.

Valiente, D. (1989) The Rebirth of Witchcraft. The Crowood Press.

#FolkloreThursday: On High Status Animals, or Imagining Scrooge McDuck’s Vault But Filled With Pigs and Horses

When we think of “high status” in the archaeological record, we usually think about intricate metalwork or elaborate jewellery…but what about animals? If that sounds strange, remember this: we still have animals and animal-based foods that are culturally considered “high status” today! Think of things like caviar, lobster, peacocks, etc…cover them all with some gold leaf and you’ve got yourself a millionaire’s prized possessions.

As I’ve talked about before on this blog, one of the greatest strengths of zooarchaeological research is that there are so many elements of the past that can be derived from animal remains. So to demonstrate this point, here’s a quick look at two of the high status animals from Iron Age Britain…

Ignore the fact that this is a more medieval-looking high status feast…no offence to the British Iron Age, but it’s just way easier to find images like this online! (Photo Credit: Costume Company UK Ltd)

The humble pig as a high status animal may not come as a surprise…after all, how many feasting scenes in films have you seen where one of the main courses is a giant roasted pig complete with an apple in the mouth? Raising pigs for consumption in the Iron Age took up a considerable amount of resources and land, so it follows that higher status individuals would be the few to keep and consume pigs. Many archaeological sites with evidence of feasting have been observed to produce many pig bones as well – it seems like that cliche has a long history! Given how difficult it was to maintain pigs, it could be interpreted that feasts with large amounts of pigs consumed were important, possibly reflecting an important event or ritual that deserves a large portion of one’s wealth being used.

Pigs also have a symbolic value as well by having a wild counterpart in the form of boars. Beliefs in Iron Age Britain seem to have placed emphasis on concepts of “liminality” (or the “between” places that are neither here nor there) as well as ideas of the domestic sphere and the wilderness. With that in mind, its possible that this duality of pig/boar, domestic/wild could have made pigs (and boars) high status in symbolic/ritual value as well. Boar were often hunted during this period, and were especially appreciated for its fierceness, leading to many boar motifs found in Iron Age weaponry and armoury.

A bronze figure of a boar from a Late Iron Age chieftan’s grave at Lexden, Colchester, Essex (Photo Credit: Miranda Green)

Probably one of the more equally valued animals at the time was the horse. Unlike pigs, however, horses were more useful to humans alive than dead; horses allowed people to move quickly across long stretches of land and transport large numbers of goods – what isn’t there to like about ’em? Horses were also important to both hunting and warfare, especially with the invention and use of chariots.

Although highly valued in life, it is how horses are treated in death that provide evidence to their status in the Iron Age. There are many examples of horse burials that display a sort of reverence that isn’t afforded to other animals: for example, there are instances of horse remains that have been deposited with human remains. Chariot and cart burials – which were common in the Arras Culture of Iron Age Yorkshire – can also be interpreted as emphasising the importance of horses through the activities they were associated with (warfare and transportation), although most of these did not contain horse remains. However, in 2017 a chariot burial with a horse skeleton was recovered in Pocklington, Yorkshire.

An Iron Age horse and chariot burial from Pockington, Yorkshire (Photo Credit: David Wilson)

So there you have it – a quick look at how zooarchaeologists can interpret aspects about social status and hierarchy in the past from animal bones – obviously, there are other animals that are considered relatively high status, and that all pigs and horses weren’t treated this way everywhere in the Iron Age – there’s lots of nuance that needs to be used in interpretation. But we have lots of evidence to suggest that pigs and horses were indeed considered high status animals – and hey, I have to agree…I mean, have you ever had pork cracklings? Mmm…

References

Chadwick, A. M. (2007) Trackways , hooves, and memory-days – human and animal movements and memories around the Iron Age and Romano-British Rural Landscapes of the English North Midlands. Prehistoric Journeys. Oxbow Books.

Green, M. (1992) Animals in Celtic Life and Myth. Routledge.

Keys, D. (2017) Iron Age Chariot and Horse Found Buried Together in Yorkshire. The Independent. https://www.independent.co.uk/news/science/archaeology/iron-age-chariot-horse-yorkshire-archaeology-significant-find-half-a-century-buried-together-a7659091.html

Madgwick, R. and Mulville, J. (2015) Feasting on Fore-Limbs: Conspicuous Consumption and Identity in Later Prehistoric Britain. Antiquity.

Parker Pearson, M. (1999) Food, Sex and Death: Cosmologies in the British Iron Age with Particular Reference to East Yorkshire. Cambridge Archaeological Journal.

Serjeantson, D. (2007) Intensification of Animal Husbandry in the Late Iron Age? The Contribution of Sheep and Pigs. The Earlier Iron Age in Britain and the Near Continent. Oxbow Books.

Studies in Skyrim: Standing Stones

 

The first three Standing Stones in Skyrim: The Mage Stone, the Warrior Stone, and the Thief Stone

In Skyrim, one of the first game mechanics you’re introduced to after the initial tutorial quest is the Standing Stone. By using a Standing Stone, the player character gains bonuses to certain traits and/or extra abilities. However, a player character can only receive one “blessing” at a time – if another Standing Stone is chosen, the first bonus will be replaced by the new one (although there is an object. the Aetherial Crown, introduced later in the Dawnguard DLC that allows for two “blessings” at once).

Similar to Skyrim’s Standing Stones are Oblivion’s Doomstones, shown here (Image Credit: The Gamers’ Temple)

In the lore of Skyrim, these Standing Stones are magical features in the landscape that have the ability to “rewrite the Fate” of heroes if used. There are thirteen in total, each correlating with one of the Tamrielic constellations: the Warrior, the Mage, the Thief, the Serpent, the Apprentice, the Lord, the Lady, the Atronach, the Lover, the Ritual, the Shadow, the Tower, and the Steed. These constellations are also known as the “Birth Signs”, similar to real life astrological signs. In the previous game, Elder Scrolls IV: Oblivion, there are similar archaeological features dotting the landscape of Cyrodil with similar powers, but are called “Doomstones” instead.

The Standing Stones of Stenness is a Neolithic stone circle found on mainland Orkney, Scotland.

It’s likely that the in-game Standing Stones are based off of the real world archaeological features that can be found at many sites around the world. Some of the best known ones can be found in the Orkney Islands, Scotland: the Standing Stones of Stenness (see above photo), the Ring of Brodgar, and the Odin Stone (unfortunately no longer standing).

Although the exact reasons for the construction of these Standing Stone monuments are unclear, they are usually associated with concepts of ritual, ceremony, and cosmology. Orkney’s Standing Stones, for example, have been observed to be relatively close to one another and also in close proximity to another Neolithic site, the Maeshowe tomb. This has been used as evidence that this area that encompasses all three archaeological sites was most likely important to the Neolithic inhabitants of Orkney. Some archaeologists have suggested that the Standing Stones are all that remains of a more intricate ritual area – Colin Richards has posited that these sites could have also had trenches of water to serve as places of liminality or transitioning, as well as connecting the cosmological beliefs of the Neolithic inhabitants with their own island environment.

Even after the Neolithic, later Scottish folklore and tradition still focused on these archaeological monuments. For example, the Odin Stone was used in ceremonies of marriage prior to its destruction. Other folklore suggests that Standing Stones were meeting places for supernatural creatures, such as fairies – this led to a tradition of leaving milk and other treats at these sites to appease these creatures. And even today, the Standing Stones are still seen as points of magic and wonder, especially within neo-pagan covens – perhaps these stones simply reflect a deep, human reaction of awe and mystery that still survives to this very day. So much so that they’ve ultimately inspired the magic and fantasy of Skyrim

References

Anonymous. (2016) Standing Stones. Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Standing_Stones?useskin=oasis

Bethesda Game Studios. (2006) The Elder Scrolls IV: Oblivion.

Bethesda Game Studios. (2011) The Elder Scrolls V: Skyrim.

Gazin-Schwartz, A. (2001) Archaeology and Folklore in Material Culture, Ritual, and Everyday Life. International Journal of Historical Archaeology (Vol. 5, No. 4).

Richards, C. (1996) Monuments as Landscape: Creating the Centre of the World in Late Neolithic. World Archaeology (Vol. 28, No. 2).