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Organics from inorganics: using experimental archaeology as a research tool for studying perishable material culture

2008; Routledge; Volume: 40; Issue: 1 Linguagem: Inglês

10.1080/00438240801889423

1470-1375

Linda Hurcombe,

Historical and Cultural Archaeology Studies

Abstract Abstract The value and diversity of experimental archaeology as a research tool are explored with reference to organic material culture, also termed 'perishables'. Ethnographic and contemporary data clearly show that the majority of all material culture is composed of materials which do not survive well in temperate conditions. Perishable material culture is therefore the 'missing majority' of archaeological material culture. Yet no society isolates materials: material culture exists holistically. Thus the more prevalent archaeological finds of inorganic materials provide opportunities for considering issues of organic material culture. Experimental archaeology has proved a rich and diverse tool to explore a variety of different approaches to this research theme. The focus here is the plant-based craft spheres. An overview of four different research strands is presented: plant chaînes opératoires; stone-tool wear traces from processing plants for crafts; ceramic impressions of cordage, basketry and textiles; and the practical and conceptual study of skeuomorphs. Several of these approaches use reference collections provided by experiments, i.e. lithic wear traces which show the exploitation of organic materials for craft purposes, ceramic impressions analysis where items of perishable material culture have made impressions on the surface either during the production process or deliberately as part of the decoration process. Experimenting with perishable materials shows the constraints and variations possible in the chaînes opératoires and taskscapes while elucidating the physical properties of the finished products. Though ethnographic data provide many useful insights and often integrate well with the experiments, it is experimental archaeology which proves itself the most adaptable actualistic study to investigate the archaeological record. Finally, though experimental archaeology can be employed in a controlled scientific manner, it is also a tool for exploring concepts and playing with ideas. The latter is an under-rated aspect of experimental archaeology and its potential is exemplified by the skeuomorph experiments. The examples drawn from the 'organics from inorganics' research theme demonstrate the range and value of experimental archaeology as a methodological tool. Keywords: Organic material cultureperishablesplant craftsskeuomorphsuse-wear analysisceramic impressionscordagebasketryexperimental archaeology Acknowledgements The 'organics from inorganics' project was initially funded by a Leverhulme pilot project grant which allowed me to test out some of the issues with the assistance of a professional basket-maker, Linda Lemieux, and Lucy Williams. Lejre Experimental Research Centre has provided grants to develop some of the plant experiments further and, most importantly, provided a forum for exchanging ideas on textiles, as well as the invaluable assistance of Anne Batard, one of their resident experts, who shared her knowledge of spinning and weaving with me. I should also like to thank the following: Annelou van Gijn and Helle Juel Jensen for generously sharing their knowledge of plant-working with experimental tools over many years, Valérie Beugnier and Phillipe Crombé for inviting me to participate in the international seminar on plant crafts in Ghent which proved such a productive interchange of research ideas; Mary Ann Owoc for talking about the Mercyhurst approach to 'perishables' research and co-organizing with me sessions at TAG and EAA conferences on organic and perishable material culture themes; Exeter University grounds staff for permissions to use various ponds, pits and plants; my colleagues Bruce Bradley, for producing flint blades, and Sean Goddard, for producing the figures, and Henrietta Quinell who originally drew our attention to the Knackyboy impressions; John Allen and Alison Hopper-Bishop and Tom Cadbury and the Royal Albert Memorial Museum and Art Gallery, Exeter, Lindsay Allason Jones, Museum of Antiquities, Newcastle-Upon-Tyne, Sheffield Museum and Art Gallery and the British Museum, Somerset County Museum, Taunton, and Royal Cornwall Museum, Truro; and, last but not least, Mandy Pike, Emily Pike, Amaranta Pasquini, Peter Groom, Hannah Simons and Tine Schenck, all of whom acted as assistants for conducting and recording experiments and Adam Wainwright for comment and help in producing this article.