The ethics of archaeology : philosophical perceptives on archaeological practice.

The question of ethics and their role in archaeology has stimulated one of the discipline's liveliest debates. In this collection of essays, an international team of archaeologists, anthropologists and philosophers explore the ethical issues archaeology needs to address. Marrying the skills and expertise of practitioners from different disciplines, the collection produces interesting insights into many of the ethical dilemmas facing archaeology today. Topics discussed include relations with indigenous peoples; the professional standards and responsibilities of researchers; the role of ethical codes; the notion of value in archaeology; concepts of stewardship and custodianship; the meaning and moral implications of 'heritage'; the question of who 'owns' the past or the interpretation of it; the trade in antiquities; the repatriation of skeletal material; and treatment of the dead. This important collection is essential reading for all those working in the field of archaeology, be they scholar or practitioner. • Explores one of the most engaging debates in archaeology, that of the role of ethics in archaeological research • Takes an interdisciplinary approach which embraces archaeology, anthropology and philosophy • An international team of specialists in their fields offers interesting insights into the issues generated by the current debat

A new perspective on Copper Age technology, economy and settlement: grinding tools at the Valencina mega‑site

Activity patterns at large prehistoric sites are often difficult to interpret, as they frequently combine productive, domestic and funerary components. Valencina, the largest of the Copper Age mega-sites in Iberia, has proved particularly challenging in this regard. Macrolithic tool assemblages have been generally neglected in these debates but can provide specific insight into the nature and patterning of activities. In this study, 185 grinding tools from seven separate excavations across this 450 ha mega-site were subjected to multiple lines of analysis including quantification, morphology, raw material, use-wear and depositional context. A surprising feature of this assemblage is the high degree of fragmentation, with more than half of the items representing less than 25% of the original artefact and only a small minority of them (< 10%) complete. The absence of intact quernstones is particularly striking. The results indicate a ritualization of deposition at Valencina, and throw new light on the interpretation of this complex site. Furthermore, they emphasize the central role that grinding technology should play in future discussion of European prehistoric mega-sites

Sound archaeology: terminology, Palaeolithic cave art and the soundscape

This article is focused on the ways that terminology describing the study of music and sound within archaeology has changed over time, and how this reflects developing methodologies, exploring the expectations and issues raised by the use of differing kinds of language to define and describe such work. It begins with a discussion of music archaeology, addressing the problems of using the term ‘music’ in an archaeological context. It continues with an examination of archaeoacoustics and acoustics, and an emphasis on sound rather than music. This leads on to a study of sound archaeology and soundscapes, pointing out that it is important to consider the complete acoustic ecology of an archaeological site, in order to identify its affordances, those possibilities offered by invariant acoustic properties. Using a case study from northern Spain, the paper suggests that all of these methodological approaches have merit, and that a project benefits from their integration

Distant echoes: evoking the soundscapes of the past in the radio documentary series Noise: a human history

This article asks whether radio can ever successfully evoke an accurate sense of the sound of the past. It does so through a reflective critical analysis of the 2013 BBC Radio 4 documentary series, Noise: A Human History, by its own writer and presenter. It explores how the ‘sound design’ of the series met the challenge of providing a longue durée history of sound without having recourse to authentic sound archive recordings for most of the period being covered. Through an analysis of key sequences, and by highlighting the significance of the broader context of production, it argues that it is possible for epistemologically valuable history to emerge, even via a medium that treats sound more as a device for evoking the imagination than as something possessing evidential status in itself. The article does this by invoking the series as a practical example of ‘historical acoustemology’, and by suggesting that in radio notions of subjectivity and perceptual mimesis are key to understanding the medium's success. In doing so, the article calls for a redefinition of the notion of the radiogenic – arguing for a move away from seeing ‘raw’ sound as the key ingredient of sound design, and towards greater attention to the influence of radio's other characteristics as a time-based, institutionally-produced mass medium