CHAT 2013

AN INTERNATIONAL CONFERENCE EXPLORING THE EXPERIENCE OF ARCHAEOLOGY AND THE

ARCHAEOLOGY OF EXPERIENCE

University College London, 8th-10th November 2013

Hosted by UCL Institute of ArchaeologyJointly organised by UCL Institute of Archaeology and Atkins

CONFERENCE PROGRAMME

#2013CHAT

CONTENTS4. CHAT 2013 Programme at a glance6. Useful information for conference delegates 8. Conference theme9. Paperandfilmabstracts19. Parallel conference exhibition programme21. Conference announcement/call for sessions and papers: CHAT 2014-Dark Modernities: Archaeologies of Totalitarianism, Authoritarianism, and Repression

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CHAT 2013 CONFERENCE PROGRAMME AT A GLANCE

Friday 8th November 2013

1200 - 1400 Registration, South Cloisters1400 - 1530 Session 1. Conference overview/framing discussions (Gustave Tuck LT)

Rodney Harrison, Sefryn Penrose and Gabe Moshenska, Introduction to the conferenceCornelius Holtorf, Experiencing the past: from age-value to pastnessPaul Graves-Brown, Rabbits out of hats, or habits out of rats: advertising, experience and material culture

1530 - 1600 Tea/coffee, South Cloisters1600-1730 Session 2. Methodological reflections (Gustave Tuck LT)

Krysta Ryzewski, Detroit, City on the Move: Contemporary/Historical Archaeologies and the Future-Making of Urban SpacePaul Mullins, Experiencing Absence: The Material Culture of TraumaGair Dunlop, Relics of Recent Futures

1730-1830 Drinks Reception/Book Launch for The Oxford Handbook of the Archaeology of the Contemporary World (Paul Graves-Brown, Rodney Harrison and Angela Piccini eds, 2013), sponsored by Oxford University Press, South Cloisters

Saturday 9th November 2013

0900 - 0930 Tea/coffee, South Cloisters

0930 - 1100 Session 3. Archaeologies of Experience (1) (Gustave Tuck LT)Tiina Äikäs & Janne Ikäheimo, Shooting in(to) dark? Imaging and experiencing the site of The Age of IronTitta Kallio-Seppa, Annemari Tranberg & Timo Ylimaunu, Smells, wetness and memory - experiencing urban environment in Northern Swedish town OuluTiina Kuokkanen, Tiina Äikäs, Wesa Perttola, Olli Kunnas & Riku Mönkkönen, Feeling the festival –Archaeological study of a rock festival in Seinäjoki, Finland

1100-1130 Tea/coffee, South Cloisters1130-1300 Session 4. Archaeologies of Experience (2) (Gustave Tuck LT)

Daniel Lee & Antonia Thomas, Archaeologists-in-residence at Papay Gyro Nights: experience, expectations and folklore-in-the-makingGreig Parker & Clare McVeigh, Understanding the Contemporary Gypsy Traveller Experience through the Analysis of MemorialsDavid Petts & Quentin Lewis, Heartbreak Hill: The landscapes of depression in East Cleveland

1300-1400 Lunch, South Cloisters1400-1530 Session 5. Archaeology, Art and Commemoration (Gustave Tuck LT)

Sharon Veale, In between: An encounter between archaeology, art and heritage interpretationCarolyn White & Steven Seidenberg, The Artists’ Experience: Archaeology of Art in BerlinSarah May, Changing experience of distributed commemoration

1530-1600 Tea/coffee, South Cloisters1600-1730 Session 6. Experiencing archaeology: Autoarchaeologies (Gustave Tuck LT)

Caron Lipman, Living with the Past at Home: Domestic Prehabitation and InheritanceJonathan Gardner, Hazardous materiality: archaeologists and contaminantsSteve Brown, Experiencing attachment: an auto-ethnography on digging and belonging

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1730-1830 Drinks Reception (sponsored by Atkins Heritage), South Cloisters1830-1930 Film screenings (Gustave Tuck LT)

Gair Dunlop, Atom townToby Pillatt & Gemma Thorpe, A break in the cloudsNick Edwards, Thieves Corner: One night in 1976 and 30,000 years of history

Sunday 10th November 2013

0900-0930 Tea/coffee, South Cloisters0930-1100 Session 7. Archaeology, heritage and theming (1) (Gustave Tuck LT)

Jane Eva Baxter, Legitimizing Atlantis: The Use of Artificial Archaeology to Establish Heritage and Create a Sense of PlaceGilly Carr, Re-experiencing the Occupation and mediating the past: authenticity and conflict heritage in the Channel IslandsMads Daugbjerg, Historical experience, battlefield rehabilitation and the spectral turn: Reas-sembling and reassessing the paranormal in Gettysburg, Pennsylvania

1100-1130 Tea/coffee, South Cloisters1130-1300 Session 8. Archaeology, heritage and theming (2) (Gustave Tuck LT)

David Harvey & Nicola Whyte, Archaeologies of (un)authorised heritage: personal and public memory at Ankerwycke Yew, RunnymedeJanne Ikäheimo & Irmeli Pääkkönen, “In the true spirit of Kalevala”: archaeologizing the na-tional epic for experience tourismPeta Longhurst, Authenticity, Experience and the Living Museum

1300-1330 Depart

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USEFUL INFORMATION FOR CONFERENCE DELEGATES

CONFERENCE vENUESThe conference will be held on the UCL main campus on Gower Street in the Wilkins Building, Gower Street, London, WC1E 6BT. Registration, exhibitions and receptions are in the South Cloisters. Conference pres-entations and films will be in the Gustave Tuck Lecture Theatre (on the 2nd floor of the south junction). We have booked a room which should accommodate most of us at the College Arms (18 Store St, London WC1E 7DH), a nearby pub which serves food, from 7pm on both Friday and Saturday nights. These locations are highlighted on the map below. Alternatively if you wish to eat or drink elsewhere, there are a wide selection of restaurants and bars/pubs near the university, some of which are listed below.

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TRANSPORTThe nearest London Underground (tube) stations to the main UCL campus are:Euston Square (Hammersmith and City, Circle, Metropolitan Lines),Euston (Northern, Victoria, Overground and National Rail Lines), andRussell Square (Piccadilly Line).

There are many bus routes to all over central London and beyond on Gower Street, Euston bus station, Tottenham Court Road and Tavistock Square, many of which run all night (unlike Tubes/Overground which generally close around midnight). The cheapest way to use public transport in London is to use an Oyster smart card available from all tube ticket outlets and most machines for a returnable £5 deposit, with credit added as you need it. This works on buses, and suburban trains as well as the Tube and Overground. See http://journeyplanner.tfl.gov.uk/ for planning journeys and further info.

NEARby RESTAURANTS, PUbS AND SHOPS(a very limited list- Camden to the north has many more as does the rest of Bloomsbury and Central London)

Restaurants:Prezzo (pizza, pasta etc) Euston RoadRavi Shankaruk (cheap, tasty vegetarian Indian) 133-135 Drummond St., Euston Sq. (north side)The Norfolk Arms (tapas/pub), Kings Cross/Russell Sq.Hare and Tortoise (SE Asian), Brunswick Centre, Russell Sq.Charlotte Street restaurants - large range of restaurants to suit all budgets including Italian, Mexican, Indian, Thai ( Goodge Street- 10 mins from UCL) Pubs:The College Arms (pub food, variety of beers wines, spirits), 18 Store Street ( Goodge St)The Marquis Cornwallis (pub food, real ale, wide variety of wine, lagers and spirits). 31 Marchmont St. ( Russell Square)Euston Tap/Cider Tap (craft beers, real/draught ale, real cider – no food) entrance of Euston StationLord John Russell (British pub - no food), 91-93 Marchmont St. ( Kings Cross)Jeremy Bentham (close to UCL, British pub, food), 31 University St. ( Euston Sq.)Bree Louise (British pub, food), 61 Coburg St. ( Euston)Carpenters Arms (good gastro pub) 68-70 Whitfield St. ( Goodge St)Shops:There are supermarkets, pharmacies and a wide range of other shops on Tottenham Court Road ( Warren St./Goodge St.), inside Euston station and the Brunswick Centre by Russell Square. The University and union (UCLU) have several small shops of their own as well as numerous reasonably priced cafes. Alternatively there are many good cafes around Marchmont Street and Tottenham Court Road.

NEARby MUSEUMSUCL hosts a number of collections of its own, including the world-renowned Petrie Museum of Egyptian Archaeology, the UCL Art Museum, and the excellent Grant Museum of Zoology, all of which are free to visit. In addition to our own CHAT parallel exhibition programme which will run throughout the conference in the South Cloisters, delegates might wish to view the current exhibition on ‘Digital Frontiers’ in the newly opened UCL Octagon gallery immediately adjacent it. Ten minutes’ walk to the south of UCL is the British Museum, and neighbouring the campus and Euston Square tube is the Wellcome Collection museum, both of which are free. Slightly further afield, the British Library ( Kings Cross) and Museum of London (Barbican Tube) are deservedly world famous institutions which are well worth visiting.

Smartphone users might be interested in downloading the UCL Audio tour app, which provides a point of entry into the rich history of the university’s Bloomsbury campus. More information is available in the Google Play store, Itunes App store, or at http://www.ucl.ac.uk/maps/ucl-audio-tour

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CONFERENCE THEMEThis conference will focus on the experience of archaeology and the archaeology of experience in the present and recent historical past. ‘Experience’ represents a significant concern across a wide variety of academic disciplines. We might think of the importance of ‘experience’ to sociological studies of everyday life; it’s central position as a concept within phenomenological approaches to landscapes and the past; the emphasis on the lifeworld in ontological perspectivism and the ‘new’ materialism; the role of experience within certain spiritual and intellectual traditions; the focus on emotional experience in studies of affect; the place of experience in the study of craft and in ethnoarchaeology; and the role of experience within contemporary educational pedagogy.

‘Experience’ is central to studies of modernity, which emphasise the peculiarity of the experience of progress, speed, time and place it produces. In The Experience Economy, Pine and Gilmore argued for a late modern shift from a service-based economy to an experience-based one: goods and services come to be valued not so much for their function, but in terms of their engagement of the senses and the experiences that surround their purchase and use. It could be argued that this experience economy is simply a reflection of a broader experience society in which there has been a shift in focus from ‘exhibition’ to ‘experience’, from the ocular to the embodied, in relation to processes of consumption, learning, knowing and ‘being’.

Increasingly, ‘experience’ determines the viability of heritage sites and dictates their interpretation: the contemporary heritage landscape—heritage-themed destinations, heritage-led regeneration and branding of place through the enlisting of ‘the past’—explicitly reflects a new concern with experience. In doing so, it exposes major differences in philosophies and taste amongst ‘professionals’ (archaeologists, architects, public historians, heritage managers) and the public. The practice of engaging with and ‘capturing’ oral history, which we might think of as memories of experience, plays an important role in contemporary archaeological narrative. Recent ethnographies of archaeological practice have similarly emphasised the experience of archaeology and its accompanying field and laboratory practices in understanding its history as an academic discipline.

AbOUT THE ORGANISERSThe conference theme provides a unique opportunity to bring together academic archaeology and the contemporary placemaking sector, represented here by the two conference organisers, and to explore the significance of the conference themes not only to academics and commercial practitioners, but also to the public at large. UCL Institute of Archaeology is one of the largest and most highly regarded centres for world archaeology, cultural heritage and museum studies in Britain. Atkins is one of the world’s leading multidisciplinary design and engineering consultancies. Atkins has been involved in a number of cross-sector initiatives in historical archaeology and contemporary heritage, including the publication of the influential English Heritage discussion document on later twentieth century heritage Change and Creation (2004), and the subsequent publication Images of Change: An archaeology of England’s Contemporary Landscape (Penrose et al 2007). London provides a unique venue to explore these issues of experience and theming in relation to archaeology and the past as a global hub for museums, themed heritage experiences, and the historic built environment, marketed and exhibited for international audiences.

AbOUT CHATThe CHAT (Contemporary and Historical Archaeology in Theory) group was established in February 2003 to provide opportunities for dialogue to develop among researchers in the fields of later historical archaeology and the archaeology of the contemporary world. The group is based in Britain, but encourages international perspectives. It is grounded in archaeology, but promotes interdisciplinary dialogue. Since its establishment, the group has held annual conferences in November. Further information is available on the CHAT Group’s website at http://www.contemp-hist-arch.ac.uk

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PAPER AND FILM AbSTRACTSFRIDAy 1400-1530 SESSION 1: CONFERENCE OvERvIEw/FRAMING DISCUSSIONS

Experiencing the past: from age-value to pastnessCornelius Holtorf (Linnaeus University, Kalmar, Sweden)cornelius.holtorf@lnu.se

According to the Austrian art historian Alois Riegl (1857-1905), cultural heritage possesses age value (Alter-swert) which stems from an object’s visible traces of age that suggest the passage of time. It manifests itself “in the erosion of surfaces, in their patina, in the wear and tear of buildings and objects”. Riegl’s 1903 paper on The Modern Cult of Monuments became a classic and age-value has since been constitutive for cultural heritage in the modern world. Closer scrutiny reveals however that clever copies, reconstructions and even imaginative inventions can in practice possess age-value too. Instead of invoking expert authority for deter-mining who may or may not have been fooled about age-value, I suggest an alternative and more democratic approach that instead focuses on the perception of age-value in specific audiences. Pastness is a useful term for denoting that quality of perceiving that a given object is ‘of the past’. Pastness is not immanent in an object but may result from an object’s appearance (e.g. patina), its context (e.g. in a museum), or its correspondence with preconceived expectations among the audience. In this paper I review the concept of pastness and dis-cuss its profound implications for the global heritage sector. By implication, age-value emerges as less univer-sal than Riegl thought and instead linked to a very particular intellectual and cultural context. The notion of age-value is part of the (intangible) heritage of the 20th century, slowly accumulating patina and acquiring pastness itself.

Rabbits out of hats, or habits out of rats: advertising, experience and material culturePaul Graves-Brown (Senior Research Associate, Institute of Archaeology, UCL)slightly.muddy@gmail.com

Between 1950 and 2006 the world’s advertising expenditure increased from 60 to 600 billion US dollars. This represents the selling of “experience” as a commodity. In terms of material culture, the growth in advertising in the 20th-21st century has been accompanied by the emergence of a professionalised approach to industrial design and the extension of product design to ever more elaborate packaging. In the process, the approach to selling experience adopted by advertising has undergone a number of changes. Whilst retaining something of the carnivalesque magic of the snake oil salesman, advertising (and by implication product design) has increasingly been informed by psychological theories and practices. From John B. Watson to Edward Bernays (nephew of Sigmund Freud) to the depth researchers of the 1950s, psychologists have used their theories and methodologies to tell business how to sell things.

This paper will explore the inter-related themes of advertising, product design and psychology in the devel-opment of material culture as both the end point and vehicle of an experience society.

FRIDAy 1600-1730 SESSION 2. METHODOLOGICAL REFLECTIONS

Detroit, City on the Move: Contemporary/Historical Archaeologies and the Future-Making of Urban SpaceKrysta Ryzewski (Wayne State University, Detroit, MI) krysta.ryzewski@wayne.edu

Detroit is at present the most vivid example of urban post-industrial decay in North America. Over 70,000 abandoned properties are spread across the city’s 224km2 landscape, and the city’s 700,000+ residents remain

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deeply segregated according to socio-economic and ethnic divisions. A widespread problem exists, however, in the tendency to mobilise images of Detroit’s decay as evidence of the city’s complete or imminent failure. These depictions are but a partial and synchronic orientation that fails to recognize the ways in which De-troit is a city on the move, propelled by residents’ strategies to mitigate the current social disaster with efforts aimed towards shaping a vibrant city of the future. In the process of future-making, Detroiters and archaeol-ogists alike are reckoning with how to approach the material traces of past and present inequality, including the monumental remains of public housing, neighborhoods displaced by urban renewal, and an unparalleled expanse of city-wide abandonment. Detroit’s circumstances pose new challenges to conducting archaeologies of the present and recent past. This presentation draws on three case studies from current research by Wayne State University faculty and students to illustrate the multi-scalar challenges and experiences of conducting contemporary and historical archaeology in Detroit.

Experiencing Absence: The Material Culture of TraumaPaul Mullins (Department of Anthropology, Indiana University-Purdue University, Indianapolis (IUPUI)) paulmull@iupui.edu

Ruination looms as an especially potent early 21st century metaphor. We experience warfare, urban renewal, poverty, and deindustrialization in various everyday forms that revolve around absence: abandoned build-ings, crumbling factories, depopulated neighbourhoods, vacant lots, and a universe of popular representa-tions of devastation all are commonplace forms of ruination that incite widespread apprehension. This paper examines the experience of absence in spaces linked to traumatic histories; specifically, how does the com-plete or nearly wholesale absence of material ruins variously efface as well as heighten consciousness of trau-matic histories? I focus on two quite different contexts in which traumatic histories have been largely effaced from the landscape: the urban renewal landscape of Indianapolis, Indiana, and the northern Finnish World War II spaces. Both reflect ways that material absences often awkwardly and ineffectively evade historical traumas and risk heightening the anxieties that fuelled ideological efforts to remove the material evidence of such trauma.

Relics of Recent FuturesGair Dunlop (Duncan of Jordanstone College of Art & Design, University of Dundee)gdunlop@dundee.ac.uk

This paper delves into the idealism, physical intensity and lived experience of the original Town for Tomor-row. Conversations with planners, architects, residents and artists are discussed, as is the ‘collaging’ of these personal memories and opinions with archive remnants and contemporary photography and video. Methods which disrupt conventional academic readings are foregrounded. The presentation will be highly visual.

Cumbernauld Town Centre is now a crumbling shadow of its former self, which has nonetheless been award-ed a UNESCO listing as an architecturally significant 20th century landmark. This receding future has left surprisingly few traces in architectural discourse and in the major archives. Uncared for and neglected, it embodies some powerful lessons on architecture, its ambivalent dalliance with functionalism, and the design mindset of the postwar UK civil state. Wilfully experimental, the Town Centre dominates our received expe-rience of the whole project. Theoretical constructs such as Marc Augé’s concept of ‘supermodernity,’ Virilio’s ‘architecture principle’, and David Nye’s ‘technological sublime’ are invoked as paradigms, as is the lightheart-ed play of Archigram and Constant’s ‘New Babylon’. Discussions with senior planners, architects, the town artist and others reveal a human story of ambition, economic stringency, teamwork and discovery. Its funda-mental playfulness in concept was lost in the economic imperatives of the time; the re- examination of those elements may lead to new assessments of the work.

The boundaries of planner/architect/designer/engineer were fluid and dynamic; can we re-inhabit those positions of openness? Dialogue with Brian Miller- the first Town Artist in the UK – brings out the experi-mentalism and environmental playfulness at the heart of the original team, which enveloped the whole town. Cumbernauld as a case study will be held up beside other archetypical mid-20th century sites, such as experi-mental reactor establishments, Cold War airfields, and SigInt facilities.

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SATURDAy 0930-1100SESSION 3: ARCHAEOLOGIES OF ExPERIENCE (1)

Shooting in(to) dark? Imaging and experiencing the site of “The Age of Iron”Tiina Äikäs & Janne Ikäheimo (Archaeology, University of Oulu, Finland)tiina.aikas@oulu.fi, janne.ikaheimo@oulu.fi

“Rauta-aika” (The Age of Iron), a four episode mini-series on Finnish national TV (YLE) was a considerable success in the beginning of the 1980’s. It transported the audience into a world of fantasy, where strains of the national epic Kalevala were successfully mixed with elements of Finnish Iron Age archaeology. A part of the film, the scenes that took place in the mythic “Pohjola” (North), was filmed at Seinävuori Hill near the city of Tampere in Southern Finland. Not only the hill became a place of local pride and of memories connected with the filming of the TV series, but also a regional/national tourist attraction and a theme park was brief-ly planned to be constructed on the site but never realized. In spring 2012 the present authors made a short expedition to the site to map the remains of this imaginary Iron Age site. Although the visible remains are scarce, especially to the untrained eye, they still give a material context for the memories of the making of the TV series and enable the researcher to experience the place differently from ordinary by-passers. This paper seeks to explore these experiences both from an academic and layperson’s point of view.

Smells, wetness and memory - experiencing the urban environment in Northern Swedish town OuluTitta Kallio-Seppa, Annemari Tranberg & Timo Ylimaunu, (Archaeology, University of Oulu, Finland)titta.kallio-seppa@oulu.fi, annemari.tranberg@oulu.fi, timo.ylimaunu@oulu.fi

This paper examines how people living in the 17th and 18th century Northern Swedish town Oulu (founded in 1605) experienced smells and wetness in public urban space. Oulu suffered from wet areas until the early 19th century. For example different sized ponds and moist streets affected the construction and use of the land.

Different sources, such as written documents, cartography, and archaeological excavations reveal how these wet areas were experienced and managed by the residents. According to written sources ponds created unpleasant smells, but the archaeological studies have shown that this problem was at least in some degree overemphasized. Certain kind of acts related to social memory and exercising power can be found in the use and eventually in filling up the wet areas and ponds.

Feeling the festival – Archaeological study of a rock festival in Seinäjoki, FinlandTiina Kuokkanen, Tiina Äikäs, Wesa Perttola, Olli Kunnas & Riku Mönkkönen (Archaeology, University of Oulu, Finland)tiina.kuokkanen@oulu.fi

Every year the small, peaceful town of Seinäjoki turns almost overnight into the venue for a large rock fes-tival. Some 20,000 people per day gather in a park used for small local events for the rest of the year. Apart from the current use, the area also has an industrial past. In summer 2010 a group of archaeologists carried out a field study in Provinssirock festival. One of the purposes was to reveal the changing meanings that peo-ple attach to the place.

The experience of the archaeologist plays an important role in contemporary archaeology. It was a starting point to this study as well. The field study consisted of three parts; interviews of festival guests and staff, test pits and documentation of the garbage. The festival visitors’ experience about the archaeological study and the oral history we brought to this study via the interviews were also important aspects in this study. All the field work was done during the festival, so the presence of the festival audience and the research group par-ticipating in the festival were essential parts of the project. The aim of this paper is to introduce the methods used and to discuss the achieved results.

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SATURDAy 1130-1300SESSION 4. ARCHAEOLOGIES OF ExPERIENCE (2)

Archaeologists-in-residence at Papay Gyro Nights: experience, expectations and folklore-in-the-makingDaniel Lee & Antonia Thomas, (Orkney College, University of the Highlands and Islands)Daniel.Lee@uhi.ac.uk, Antonia.Thomas@uhi.ac.uk

Since February 2012, we have been archaeologists-in-residence at Papay Gyro Nights, an international con-temporary arts festival held annually on the island of Papa Westray, Orkney. As part of this year-long project we have been exploring the festival as folklore-in-the-making, collaborating with artists, investigating the movement of materials which make up installation pieces and considering the more ephemeral and intangi-ble residues of the island’s past and present.

The project has questioned the nature of a residency for archaeologists and highlighted the expectations and tensions inherent within such an engagement. This has caused us to challenge our own preconceptions of archaeological field practice and develop new ways of ‘doing’ archaeology. This paper discusses our activities during the residency and reflects upon some of the emerging themes from this work-in-progress.

Understanding the Contemporary Gypsy Traveller Experience through the Analysis of MemorialsGreig Parker (independent researcher) & Clare McVeigh (University of South Wales)parker.greig@gmail.com

Memorials have become an important medium for the expression of Gypsy-Traveller identity in contempo-rary society due, in part, to legislative changes that have restricted traditional practices such as travelling. The form, decoration, and position of these memorials are often used to negotiate understandings of ethnicity, gender, and kinship within Gypsy-Traveller communities, and frequently emphasise similarity and difference in reference to the grave markers of non-Gypsy-Travellers. This paper explores the extent to which such me-morials and their placement within the cemetery can be seen to relate to the lived experience of the deceased or the bereaved, and whether they might be better understood as expressions of an imagined, or idealised conception of the past. In addition, we consider the ways in which the intended meanings of these memorials may be understood by non-Gypsy-Travellers visiting the cemetery.

Heartbreak Hill: The landscapes of depression in East ClevelandDavid Petts & Quentin Lewis (Department of Archaeology, Durham University)quentin@quentinlewis.com

This paper proposes an archaeology of the Great Depression in England by an examination of one attempt to ameliorate its effects on the landscape. The north-east of England was badly hit by the Depression of the 1930s. Although the impact on urban areas, such as Tyneside, is well known, other parts of the region suf-fered equally, if not more, severely. In the rural ironstone mining areas of Cleveland unemployment hit the staggering level of 91%. As an effort to ameliorate the effects of this, a local gentry couple, Major James Pen-nyman (1883-1961) and his wife Ruth rented some plots of uncultivated land near the villages of Margrove Park and Boosbeck to be used as a communal gardening and agricultural plot for unemployed Ironstone workers in the area. There were four plots in total: “Heartbreak Hill”, between Margrove Park and Boos-beck, “Dartmoor” south-adjacent to Margrove Park, and “Busky Fields”, two plots adjacent to the pit village of Stanghow. Miners could work in the allotments, and receive payment in produce, depending upon the amount of work time they put in. The land was cleared under the organization of rural revivalist and right-wing political figure Rolf Gardiner (1902-1971), who brought in university and private-school students to assist the miners in this clearance. Gardiner and Ormesby were interested in side-stepping the socialist and labour movements then prevalent in urban Teesside by rooting Heartbreak Hill in conservative and racialist assumptions about the purity of the English countryside and the landowning class system. And yet, the com-

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munal structure of labor at the camp, as well as related cultural movements that foregrounded socialist poli-tics, including a locally produced opera about Robin Hood, meant that Heartbreak Hill was ultimately a more politically ambiguous experiment than its origins with prominent conservatives might suggest. This paper acts as prologue to a new project to explore the materiality of these sites. We intend to begin to explore the way in which the experience of unemployment and responses to it were created, mediated and constrained by the physical and social landscapes within which the participants were situated.

SATURDAy 1400-1530SESSION 5. ARCHAEOLOGy, ART AND COMMEMORATION

In between: An encounter between archaeology, art and heritage interpretationSharon Veale (Godden Mackay Logan Heritage Consultants)sharonv@gml.com.au

How would the painter or poet express anything other than his encounter with the world? Signs, p56, Maurice Merleau-Ponty, Northwestern University Press, 1964

In Australian heritage management the role of history, archaeology and interpretation are choreographed and practiced within an elaborate system of legislation, charters and soft law. Yet the conditions of consent and the outcomes for ‘significant’ archaeology in the context urban development are often predictable. Whilst dig-ital media has created some exciting and increasingly complex alternatives for the representation and experi-ence of archaeology, most frequently the end result is a static display of artefacts accompanied by heritage interpretation.

Significant Aboriginal objects and archaeological relics were discovered during recent excavations within a State heritage listed colonial landscape in Western Sydney. With reference to this project, my paper will explore the tentative and sometimes challenging nexus that emerged between archaeology, art practice and heritage interpretation. Working with an artist whose brief was to create a public artwork with the archaeol-ogy, I will critically reflect on the world of presuppositions and the methodological paradigms into which we typically fall as heritage practitioners. I note that the accepted taxonomies, matrixes and contexts, combined with the central tenets of ‘significance’ and ‘conservation’ were unsettled and provoked in this encounter. Borrowing from Heidegger, I argue that, perhaps as a solution to the muddled and obscured values that now appear to characterise heritage, a return practical interdisciplinary exchange may reveal new perceptions and meanings.

The Artists’ Experience: Archaeology of Art in BerlinCarolyn L. White (University of Nevada, Reno) & Steven Seidenberg (independent artist)clwhite@unr.edu

The city of Berlin in 2013 is known for its art and for its community of practicing artists, and this paper explores the physicality, ephemerality, and durability of the art community within the built environment of Berlin, Germany. In 2013, I participated in an artist residency in the former East Berlin, studying the physical spaces of artists spaces and the artists that occupy those spaces. The project combines analysis of the physical elements of studios and buildings, the placement of artist communities within the city, and an exploration of the experience of these spaces as a participant in an artist community.

This paper presents some of the results of this residency, particularly in relation to place, space, temporality, and ephemerality and community: What do temporary project spaces in Berlin look like? How do individual artists create public and private spaces? How do those spaces reflect and emulate domestic space in various forms? In what ways do these private spaces comingle to form communities, and how do social connections transcend place? This paper focuses on the materiality and physicality of urban artist spaces, including the use and reuse of historically significant buildings.

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Changing experience of distributed commemorationSarah May (independent researcher)sarah.may500@gmail.com

Public Commemoration of death in conflict is a long standing Heritage experience. There is a large body of literature concerning how such commemoration creates and structures remembering and forgetting (eg. Connerton 2009; Middleton and Brown 2005). A smaller number of scholars have considered the life his-tories of individual monuments (eg. Stephens 2007). The approaching centenary of the beginning of WWI has prompted a series of initiatives to revisit the commemorations of the war. But our notions of respect and memory have changed substantially since these events were first commemorated. A small wall plaque in Old Portsmouth demonstrates the problem. It is dedicated to those: “Upholding in their noble deaths the glorious traditions of the Great Services to which they belonged And by their inspiring example holding high for fu-ture generations the great standard of Duty And the Divine Law of Sacrifice for which they died.” The Divine Law of Sacrifice is rarely mentioned in more modern memorials. What are we to make of these places? Can the experience of memory and forgetting that they embody be revitalised and aligned with contemporary memory practice? This paper will consider these questions in relation to the large body of commemorative material which forms a central part of the civic space of Portsmouth.

Sources:Connerton, P. 2009 How Modernity Forgets. Cambridge University Press.Middleton, D. and Brown S. 2005 The Social Psychology of Experience: Studies in Remembering and Forgetting. Sage.Stephens, J. Memory, 2007 Commemoration and the Meaning of a Suburban War Memorial, Journal of Material Culture 12:3, 241-261.

SATURDAy 1600-1730SESSION 6. ExPERIENCING ARCHAEOLOGy: AUTOARCHAEOLOGIES

Living with the Past at Home: Domestic Prehabitation and InheritanceCaron Lipman (School of Geography, Queen Mary University of London)cwlipman@blueyonder.co.uk

This paper will reflect on insights emerging from a project examining people’s awareness of and engagement with the past of their homes. The project locates the home as a focus and site of historical awareness, inves-tigation and knowledge, and explores ideas of home and homemaking in relation to the lived, material and imagined past. Involving in-depth qualitative research, the project examines people’s understandings and re-sponses to previous habitation and the objects and fixtures they have inherited, including those inadvertently discovered during building and gardening work. The paper will start by reflecting on the curatorial practices involved in the development of a current exhibition at the Geffrye Museum, as part of the project, and how these practices of displaying photography and objects focus attention on the way in which participants them-selves practice their historical engagements within their homes. The paper will reflect on the choices people make in uncovering, recording and archiving found objects, and how they ‘perform’ their findings during the interview process in ways which reflect a desire to create senses of belonging to home which incorporate the past.

Hazardous materiality: archaeologists and contaminantsJonathan Gardner (Institute of Archaeology, UCL)jonathan.gardner@ucl.ac.uk

A relatively little discussed element of archaeological practice is the experience of working on so-called contaminated sites. I include in this definition sites that are suffused with heavy metals, hazardous substances

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such as asbestos, radioactive materials, and biohazards such as hypodermic needles and corpses. In this paper I seek to unearth the archaeological experience of contaminants and consider contaminants as artifacts in their own right, both in the ground and (potentially) within the bodies of archaeologists. I also will consid-er the strategic deployment of material to counter contamination, including specialised personal protective equipment, improvised counter-contamination solutions and reflect upon my own and others’ experiences of using such objects and their influence upon us and our practice. Lastly, I will discuss the parallels with the idea of all archaeological material as a contaminant in the eyes of developers, requiring specialised contrac-tors to remove, as well as the contamination of ‘real’ archaeology by ‘overburden’ or ‘plus’ features, such as concrete piling. Ultimately this discussion will seek critical insights into the area of being an archaeologist in a milieu of non-human actants and in particular those which are potentially lethal to us, and therefore, the implications of such material being considered artifactual.

Experiencing attachment: an auto-ethnography on digging and belongingSteve Brown (Archaeology, University of Sydney)sbro6391@uni.sydney.edu.au

Belonging and place-attachment are concepts that heritage practitioners seek to identify and assess, to make conscious and controllable, in conservation planning. There is a tendency in such work to separate affect, emotions and practices from material things; to describe the relationships between intangible and tangible heritage and between people and places. By contrast, academic projects have long sought to break down bi-naries of material and immaterial, mind and matter, humans/non-humans and objects. Indeed some projects reconceptualise people-place-thing relationships as embedded, entangled or enfolded across and into one an-other. Thus place-attachment in heritage practice can be re-conceptualised as a hybrid achievement in which belonging is a form of accommodation.

To illustrate how people-place-things simultaneously accommodate (or adjust) and are able to be accommo-dated (cf. Miller 2010), I provide a personal account of archaeological work undertaken at my home in the Sydney suburb of Arncliffe. My particular focus is on experiencing place through digging six test pits and thence cataloguing 3,600 things (Brown 2012). I argue that by attributing a degree of independence to the many things entangled in the excavation process (artefacts, spoil, holes, plants, animals as well as people), the things and I have had to adapt and ‘fit’ together in order to amicably share the suburban block. More broadly, my contention is that by conceptualising place-attachment as an act and state of accommodation of people, place and things, heritage practitioners are provided opportunities to more deeply articulate the connections of feelings with the materiality of place.

Sources: Daniel Miller 2010. Stuff. Cambridge: PolitySteve Brown 2012. Toward an archaeology of the twentieth century suburban backyard. Archaeology in Oce-ania 47(2): 99-106

SATURDAy 1830-1930FILM SCREENINGS

Gair Dunlop (University of Dundee): Atom town: life after technology. 23 minutes, colour and b/w, 2011. gdunlop@dundee.ac.uk

Unprecedented access to the Dounreay site, to former and current members of staff at all levels, and the nuclear visual archive at Harwell was negotiated during the production of this film. The mix of interview, ar-chive material, contemporary footage and sound allows for the viewer to enter an active role of interrogating the gaps and contradictions of the experiment, and of the nuclear politics of the time. I developed techniques with the enthusiastic participation of site staff and affected communities to work with the memories and physicality of such spaces for the future. Current thinking in nuclear decommissioning is tending towards the complete removal of all structures associated with the UK nuclear state. This project offers a prototype

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for larger-scale investigations into the cultures and archives of major technological imperatives, which can inform current and future debate on national and international infrastructural priorities. Methodologies em-ployed in this project enable the dissemination of information on local, national and international responses to changing technologies in society, their presence as recorded at the time of use, and the changing under-standings of technology in their declining phase.

Unique interview material, use of montage editing, and a sense of play in the edit are seen as evolving tools in a new site investigation method. The project necessitated an active questioning of the role of contemporary philosophies in constructing a multi-layered sense of place - in particular the thinking of Paul Virilio.

Toby Pillatt & Gemma Thorpe (University of Sheffield): A break in the clouds. 13 minutes, 2013. tpillatt@gmail.com

A Break in the Clouds is a collaborative film project reflecting on the practices and routines of people living in Mosser, Cumbria, and the impact of weather on their daily lives and relationships with the Lake District landscape. Central to this work are the diaries of two eighteenth-century residents of the area, Isaac Fletcher and Elihu Robinson, whose words guide us as we document and explore the stories of people today.

Nick Edwards (independent artist): Thieves Corner. 12 minutes, 2013.nickedwards61@yahoo.co.uk

Thieves Corner is a short film about a piece of woodland in rural Essex which contains a site that appears to have been in use from at least the mid 70s. It is, I believe, a ritual site, where the passage from childhood to adulthood is acted out. Thieves Corner could possibly be an example of a modern Nemeton.

SUNDAy 0930-1100SESSION 7. ARCHAEOLOGy, HERITAGE AND THEMING (1)

Legitimizing Atlantis: The Use of Artificial Archaeology to Establish Heritage and Create a Sense of PlaceJane Eva Baxter (DePaul University, Chicago)jbaxter@depaul.edu

The Atlantis Resort is a formidable presence on the landscape and a tourist destination that overshadows other Bahamian resorts. The Atlantis theme has made the resort a popular topic in archaeological discussions of pseudoarchaeology, and the exhibit named “The Dig” in the lower level of the resort makes this artificial past widely accessible. Attending ten tours through “The Dig” in the summer of 2011 facilitated an analysis of how the Atlantean past is presented to tourists, and how artificial archaeology is used to create an equal-ly artificial past. What emerged was a narrative of heritage and place making that is reflected in the “above ground” resort, and which parallels legitimate strategies in heritage and place making used in contemporary communities. This presentation explores how an artificial past of a non-existent place is made real and is used to establish a “legitimate” heritage for the resort in the present day.

Re-experiencing the Occupation and mediating the past: authenticity and conflict heritage in the Channel IslandsGilly Carr (University of Cambridge)gcc20@cam.ac.uk

Since 1945, the heritage of the German Occupation of the Channel Islands has grown following a formula and values to which islanders have adhered from the earliest post-war days. Authenticity and a feeling of temporal closeness to the Occupation is aimed at above all else. The Occupation museums, of which many exist inside old bunkers, are full of mannequins in German uniform. Bunkers, which were restored from the late 1970s onwards, and which aim at time-capsule realism, are also liberally sprinkled with mannequins of

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German soldiers. Local enthusiasts, who act as guardians of this grass-roots heritage, value and nurture a strong sense of authenticity in their restorations and museums. They, who were born after the Occupation, thereby missing the most ‘exciting’ thing ever to happen in the islands, aim at heritage presentation which gives the impression that the Germans have left the scene for only a few minutes. This enables them – and the casual visitor – to vicariously re-experience the Occupation. Such is the importance of the creation of this at-mosphere that many of these same grass-roots amateur heritage groups see ghosts of German soldiers inside bunkers. Is too high a social value placed upon re-experiencing the Occupation, and is it mediated just a little too successfully in the Channel Islands?

Historical experience, battlefield rehabilitation and the spectral turn: Reassembling and reassessing the paranormal in Gettysburg, PennsylvaniaMads Daugbjerg (Aarhus University)mads.daugbjerg@hum.au.dk

To have an ‘experience’ in Gettysburg, the site of one of the key battles in the American Civil War, has taken on a new meaning in recent years. Roughly 50,000 men fell here over three fatal days of battle in July, 1863, and the town and its surrounding fields were turned, almost instantly after the smoke had cleared, into an iconic site of memory and an emblem of American patriotism, as ‘feverish attempts to establish appropriate modes of remembrance began immediately after the battle and continue to this day’ (Linenthal 1993: 89).

This paper, based on ethnographic fieldwork in Gettysburg in 2010, unfolds and explores the battles over his-torical ‘experience’ in Gettysburg, focusing on three different modes of relating to the battle. One, epitomised by the federal National Park Service and its so-called ‘battlefield rehabilitation’ program, aims for historical understanding attained via a visual ‘cleansing’ of the landscape. A second modality is found among reenac-tors, amateur hobbyists seeking to take on a bodily first-person perspective to approximate ‘what it was like’ in the fog of war. Thirdly, I consider a recent and profound ‘spectral turn’ in which the field and its landscapes and memories are explored in radical fashion by practitioners of the paranormal, ghost hunters insisting on connecting to the war dead through techniques and media wholly foreign to ‘normal’ regimes of commemo-ration.

SUNDAy 1130-1300SESSION 8. ARCHAEOLOGy, HERITAGE AND THEMING (2)

Archaeologies of (un)authorised heritage: personal and public memory at Ankerwycke Yew, RunnymedeDavid Harvey (Department of Geography, University of Exeter) & Nicola Whyte (Department of History, University of Exeter)D.C.Harvey@exeter.ac.uk

Close to the river Thames in west London (UK), Runnymede provides a diverse memorial landscape worthy of academic enquiry. While the visitor is invited to experience the memorials made to commemorate the Magna Carta, JFK and Commonwealth Air Forces in a particular way, by contrast the presence of the Ank-erwycke Yew, on the other side of the river, has become a focal point to alternative, apparently unscripted memory practices. Over 2000 years old, this yew tree has been named as ‘one of fifty great British trees’, now cared for by the National Trust on behalf of a nebulous society of the future. It is also a site that has been rich-ly inscribed with mementos: the planned, the accidental, ad hoc and everyday; the personal, painful and/or banal. In this paper we use an analysis of the Ankerwycke Yew to trouble the relationship between the public and the personal; the experiential and the material. In doing so, we seek both to extend the usual chronolo-gies of the archaeologies of ‘natural places’, while also adding temporal depth to present day phenomenolo-gies of place.

“In the true spirit of Kalevala”: archaeologizing the national epic for experience tourismJanne Ikäheimo & Irmeli Pääkkönen (University of Oulu, Finland)

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janne.ikaheimo@oulu.fi, irmeli.paakkonen@gmail.com

Archaeology and folklore have long been used to empower nationalistic strivings and racialaggrandizement; in the modern world also largely to boost business ventures. Elias Lönnrot´s Kalevala, the national epic of Finland, with its temporally, spatially and functionally varying components and internation-ally known heroes has grown in the imagination of its readers into a description of a truly existent land with its own history and geography, located somewhere in the Iron Age Karelia. This imaginary world is today providing both spiritual and material substance for business enterprises “in the true spirit of Kalevala”. This paper examines the use of overly expressive language and archaeologically influenced material culture asso-ciated with experience tourism ventures – e.g. Kalevala Spirit experience park in Kuhmo and Kalevala Park amusement park in Oulu – often based on a lamentably uninformed attitude towards the researched past. Long and well known historical facts left aside, the result often is an unhappy mixture of Kalevala´s imagi-nary world and mercenary modern/contemporary aims, even up to the point of presenting the clientele with rites, objects and structures based on mutually unconnected mythologies and archaeologies. Consequently, both the powerful epic and local archaeology are actively being reshaped to something they most certainly never were.

Authenticity, Experience and the Living MuseumPeta Longhurst (Archaeology, University of Sydney)plon8506@uni.sydney.edu.au

The Historic Houses Trust of New South Wales, a group of twelve museums in and around Sydney, was re-branded in April 2013 as Sydney Living Museums. As the impetus for this change, the organisation cited an increasing desire from visitors to be able to touch and interact with museums – in short, to experience them. This is reflective of a broader shift at museums and heritage sites from a more passive witnessing of exhibi-tions, towards a more interactive and immersive experience.

This paper will discuss the implications of this new concern with experience for the interpretation and con-servation of the diverse Sydney Living Museums. In particular, it will consider the case of Rouse Hill House and Farm, an unusual museum that conserves the layered history of a family occupying the same home for six generations. This is a museum that confronts and challenges visitors more accustomed to the pristine grandeur of a more typical house museum. In examining this museum within the framework of ‘experience’ this paper will explore the types of experiences that it can provide, and the tensions between two modes of authenticity: the authenticity of the site and its collections, and the authenticity of the visitor.

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PARALLEL CONFERENCE ExHIbITION PROGRAMME

THE FOLLOwING wORkS wILL bE ON DISPLAy THROUGHOUT THE CONFERENCE IN THE SOUTH CLOISTERS:

David Kendall (Goldsmiths, University of London), Selected photographs from Gone but not Forgot-ten and Always Let the Road Decided.kendall@gold.ac.uk

Gone but not Forgotten and Always Let the Road Decide are two photographic projects that explore how photographic images could be utilised to investigate the complexities of sensory perception and visual pro-duction in cities over time. Weather patterns affect people’s mental and physical journeys on foot or inside vehicles. Climatic conditions can speed up or slow down mobility and restrict interaction between metropol-itan and rural areas. Heat, moisture, wind direction and chill factor can physically and psychologically affect visibility and movement. This productive tension affects social relations across time and space, generating ocular landscapes that have no distinct presence or absence. Consequently the monotony of a journey of-fers opportunities to consider the prosaic and habitual fabric of what is culturally perceived as a natural and urban landscape. Staring into space suggests a presence, provoking the viewer to question collective mobility, personal identity and narrative structures within the city and its boundaries. New provisional sites emerge as ocular pauses, momentary fragments of cohesion that punctuate inter-subjective experiences en-route, creat-ing a field of view that is reliant on the human paths and contemporary routes that are woven between archi-tectural spaces. Therefore photography could be utilized to generate imaginative, site-specific and multi-sen-sory responses to these landscapes, opening up new lines of critical and spatial enquiry into experiencing the contemporary past, enhancing ongoing studies of transnational processes, spaces of cultural and historical hybridity in world cities.

David Kendall’s practice explores how spatial, economic and design initiatives, as well as participatory prac-tices, combine to encourage social and spatial interconnections or conflict in cities. Kendall utilises visual archives, mapping, events and embodied experiences to activate and generate his photographic, film and site-specific projects. His photographs, spatial research and collaborative projects have been exhibited and presented internationally including the British Library, UK, Jüdisches Museum Berlin, Germany, Centro Cul-tural Manuel Gómez Morín, Santiago de Queretaro, Mexicó, Tate Britain, UK and Institut français London, UK. Kendall is a visiting research fellow within the Centre for Urban and Community Research, Goldsmiths, University of London, UK. www.david-kendall.co.uk

Felipe A. Lanuza (Barlett School of Architecture, UCL), Palimpsests of Light: Erasure, absence and memory in the Heygate Estatefelipe.lanuza.11@ucl.ac.uk

The metaphor of the palimpsest is usually cited in urban history to describe the way in which territories accu-mulate traces and elements of past uses and physical configurations. Different stages of history ‘inscribed’ in the present materiality of the city are sometimes visible, but in other cases, the processes of renovation of cities make them disappear.

The Heygate Estate, erected in the early 1970s in Southwark, London, constitutes a radical example of such urban renewal processes. An ambitious -and contested- regeneration project would be developed after the on-going erasure of what now exists in the site. A second tabula rasa in 50 years, since the modernist project in turn replaced the previous Victorian city fabric with a completely different urban structure.

Perhaps due to the condition of capturing a motionless image, photography constitutes an effective register of the sense of what the experience of an inactive and open empty space like the Heygate Estate was, before being totally fenced and subject to a slow demolition process. But beyond a form of documentation -either

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critical or romantic- photography could constitute a source for further interpretation of this kind of spaces.

Photography etymologically means ‘writing of light’; hence the proposed images can be seen as palimpsests of light that intend to recreate the evoking qualities of the Heygate in that interim condition, before its disap-pearance. They suggest a compressed time due to the accumulation of different photographs of the same site, but also the sense of a vanishing memory of it. Interplay of presence and absence that interrogates the materi-ality of the city and its persistence in time.

Piece one: two fringes Each image overlays 23 photographs taken the 14th of May 2012 from two different elevated walkways of the abandoned Heygate Estate. The one on the left externally surrounds the site, defining its north and east bor-ders, a fringe between the Heygate and the city. The one on the right surrounds the inner forest and low-rise buildings, defining the border with the external high-rise slabs.

Piece two: absent landscapeEach image comprises a series of 16 photographs taken in 4 different areas of the site in April 2013, deter-mined in turn by 16 old photographs taken prior to the construction of the Heygate. As every viewpoint of each old photograph was precisely located in the site, they determined the areas for recollection of images of a disappeared state of things as reflected in a state of things about to disappear.

Piece three: shifting stillsA selection of 8 photographs of the site taken prior to the construction of the Heygate Estate were replicated in still videos, taken from the same viewpoints in April 2013. The first sequence shows the old images and the new still videos over layered, while the second one is a simultaneous view of the 8 videos that develops progressively from the last part of the first sequence.

Daniel Lee & Antonia Thomas, (Orkney College, University of the Highlands and Islands), Archaeologists in Residence at Papay Gyro NightsDaniel.Lee@uhi.ac.uk, Antonia.Thomas@uhi.ac.uk

To complement our paper we present a short animation, film and slide show. Of course, the only real way to experience the festival is to come along…

Night of the Gyro, Animation (Lee and Thomas 2013). Short animation combining images from the festival and a first-hand account of the ‘Night of the Gyro’ (Text adapted from Drever, J. 1923. Papa Westray Games. Proceedings of the Orkney Antiquarian Society Vol. 1, 69-70). Editing, Mark Jenkins.

Papay Gyro Nights 2012, film (Land Art Papa Westray). Show reel of the 2012 festival.

PGN13, slide show (Lee and Thomas 2013).

Posters will also be exhibited throughout the conference in the South Cloisters.

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CONFERENCE ANNOUNCEMENT/CALL FOR PAPERS AND SESSIONSCHAT 2014: DARk MODERNITIES: ARCHAEOLOGIES OF TOTALITARIANISM, AUTHORITARIANISM, AND REPRESSIONMuseum of West Bohemia, Pilsen, Czech Republic, 31st October – 2nd November 2014

In recent years archaeology has succeeded in highlighting the importance of research into ‘dark’ or ‘difficult heritage’ and a number of projects have generated new insights into the mechanisms of state control and repression in the contexts of the Spanish Civil War, World War II, and the Cold War in Europe, as well as exposing the material remains of more recent crimes against humanity on other continents.

CHAT 2014, hosted by the University of West Bohemia, Pilsen, will explore how archaeology may be used to enhance the documentation and interpretation of totalitarian and authoritarian regimes, to advance theoret-ical approaches and methods, and to broaden the public dissemination and understanding of the topic. Our definition of authoritarianism is intentionally broad and may be extended to encompass forms of so-called ‘corporatist’ authoritarianisms, apartheid and other forms of ‘racial’ and ‘ethnic’ authoritarianism, regimes of illiberal rule associated with colonialisms as well as anti-authoritarian movements in both the recent and more distant past.

We are particularly keen to extend international contacts among recently established contemporary archaeol-ogy projects in Central Europe and expect colleagues from Germany, Austria, Slovakia, Hungary, Poland, and the Netherlands to attend and participate. We also hope that the 2014 CHAT conference will allow research from different academic disciplines and more distant locations to be presented and compared, including ex-amples from Africa, the Middle East, Asia, and South America.

Our conference theme of Dark Modernities focuses on the darker side of the recent and more distant past and its interpretation in the present. Contributions are welcome (but will not be limited) to the following topics:

• Monumentality and the projection of individual/state power• Heritage, identities, and the materiality of atrocities• Concentration camps, forced labour camps, and confinement• Technologies and genealogies of oppression• Consumption and daily life• Forms of resistance expressed through art, music, literature• Racism and the institutionalization of ethnic discrimination• Processes of commemoration• Memorialisation and the shaping of visitation practices• Memorial museums and sites of memory• Landscapes and ‘terrorscapes’• The politics and praxis of the repatriation of human remains• Thanatourism, dark heritage and the commodification of death

Session proposals, composed of 3-4 thematically linked papers accompanied by 150 word abstracts, should be sent to the conference organisers by the 1st of April. Individual paper proposals, consisting of a title and 150 word abstract, should be sent to the conference organisers by 1st of May. Paper and session proposals should be sent to Pavel Vařeka and James Symonds c/o vareka@kar.zcu.cz

Further information regarding accompanying events, conference tours, accommodation, and a call for papers and sessions will be circulated and made available on the CHAT website http://www.contemp-hist-arch.ac.uk/ shortly.

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Notes

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The Journal of Community Archaeology & Heritage is a new journal intended for participants, volunteers, practitioners, and academics involved in the many projectsand practices broadly defined as ‘community archaeology’.This is intended to include the excavation, management,stewardship or presentation of archaeological and heritageresources that include major elements of community participation, collaboration, or outreach.

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