Hello! I am Cristiane Amarante, an archaeologist,
and today our subject is: what is
experimental archeology.
Today I have the special participation
of the archaeologist João Carlos Moreno, Juca,
in this video,
because experimental archeology
isn't only turned to lithic. João
is a lytic specialist; those who study pottery
also do it; and other fields of archeology
also use experimental archeology.
But as João studies lytic, and he chips,
and I don't chip,
he'll tell a little of what
experimental archeology is for us,
and how chipping,
which is in his case, that studies chipped stone,
he can get information
about how were the techniques used,
and how the people who made those objects
lived and related to the object
in the environment where they were.
Yes. I'm thinking, is this method here, this
technique when I'm going to chip it, was it
also the same one used to make that kind of tip I'm studying?
Well, I don't know, I'll try.
I go there, I try, didn't it work? Maybe it's not it.
Did it work? So, we have a possibility.
So we know that this is a technique that could be used.
And then, experimenting, you also see,
for example, the materials, right? We have
the striker, which was
the piece that struck the instrument
you are making. Here it could, for example,
be made of stone; could, for example, be
made of wood; could, for example, be
made of the horn of an animal. So, by doing it, do
you notice the differences in the impact of these
different materials on the part you
are chipping? I can notice. The difficulty
is to notice this in the material you
are studying, in the archaeological material.
And to be able to say like this: No, this one, this retouching,
it was done with a horn, or that retouching was done...
So it's complicated.
There are a lot of people who look like that, right... There are a lot of archaeologists out there
who look like this – ah, this was done here by horn, this was done here by
pressure, this is soft percussion, this is hard percussion here...
Then I'm like this:
but guys, I'm the expert one, and I don't…
And you can't say with such certainty.
If you look up to the guy who is
considered the father of experimental archeology, Don Crabtree,
an American archaeologist, in the
70's he wrote this:
you can't
apply this logic of saying –
ah, this is by pressure, this here is soft percussion, this is hard percussion
if you've never even tried
to do the same thing with that stuff.
Because one thing you know, even if you have experience,
you know how to chip,
but you only know how to chip flint and obsidian,
which are the most tops materials,
then you go and look at a silicified sandstone
tip, and say – ah, that here is by soft percussion,
this is by hard percussion... Is it?
Because the properties of rocks
are different; they'll behave differently.
So he said that:
if you want to make such
detailed inferences about this material,
experiment with the same kind of material.
If I'm analyzing a flint of that region,
take the flint from that region. Don't take just any flint,
because the flints differ from region to region. Let's just
try with that stuff.
Don Crabtree says this, Jacques
Tixier says this... It's not just
João Carlos speaking this, to not to say so vehemently.
No, experimental archeology is important if you really want to understand
minute details of chipping
methods and techniques. Another thing I think it's
nice to understand is: how
these prehistoric societies had
an advanced technology, right? Because, for us, ah, he produced chipped stone,
then you see the object and… underestimate
the technology. From the moment you learn
that it has a specific technique,
in some moments you will use more pressure,
which at other times you will use more...
you have to hit the right angle, right, so
the stone doesn't break entirely… Until today,
when I'm explaining, I'm showing these pieces that I do for people,
they look like that, and a lot of people will say:
ah, ok, it's stone...
like, ah, it's stone... But no! It's only stone,
it's a stone that was crafted. "Oh, okay then."
And one has no idea how difficult it is, how
complex societies had to make
these materials. I mean,
let's compare to a magic cube.
You have to have... you have to have a strategy to set up
that magic cube, or a game of chess. I think it's better to compare
with a game of chess. There's even an article in a book
that compares making a
lytic piece, a lytic artifact, to a game of chess. Because once you
make a move, you can't go back.
If you miss, you can't go back. You can,
but it's complicated. You can't do
exactly what you wanted before. You will have to adapt your
game. It's the same for
a chipped stone. From the moment you take a chip,
and you're not satisfied with that chip,
you won't put it back.
It's already gone!
Now that's it! Now you have to start from that! So it's not
easy for you to think
about the product you want,
to follow all this strategy to get the stone
the way you want it, and if you make a mistake and it breaks down and you want
to readjust it, it's not easy!
It's complicated. And there are prehistoric societies
that did things that are incredible.
Oh, the subject is so good that I don't feel like stopping!
But if you got very curious,
go there on the site that João manages,
"Arqueologia e Pré-História", there's a text about it.
Here on the channel "Arqueologia Alternativa"
there will be videos about it too;
and on João's channel as well,
"Arqueologia em Ação", there are also videos about experimental
archeology. You'll be able to learn a lot!
If you don't know anything about archeology, or if you are
a graduate student and are interested in the subject,
you are invited to enjoy, share
the videos, from Arqueologia Alternativa,
Arqueologia em Ação, and see you next time!
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