Archaeology at Tintagel… on the edge of a cliff!

[I begin with two things – a confession and an apology. Firstly, the day I’ve chosen to describe in my Day of Archaeology isn’t actually the 29 July – as that day I was happily walking the south-west coast path and sitting on a beach in Cornwall. So I’ll be describing my day on Tuesday 26 July instead. Secondly, apologies as it’s being posted so late – the holiday is the reason for that too!]

Tuesday wasn’t a typical day in my role as Senior Properties Historian at English Heritage, but as I struggle to describe a typical day that’s nothing unusual. The day was spent at Tintagel Castle in Cornwall, where there are currently excavations being carried out by Cornwall Archaeology Unit, on our behalf. I drove down in the morning to meet a couple of TV crews – one from BBC Spotlight and another from the ITV local news, who had both been invited to cover the story of the excavations. After re-reading our press release and having a quick chat with our PR manager, I gave a couple of interviews about why we were carrying out the project, and took the crews up to the excavations to meet the archaeologists and show them the site.

Looking across to Tintagel Castle headland from the mainland.

Looking across to Tintagel Castle headland from the mainland.

I’ve been involved with Tintagel Castle for a couple of years, working on a complete overhaul of the interpretation and visitor information on site, alongisde various improvements to the cafe, shop and ticket points. We installed a new permanent exhibition in the visitor centre in 2015, and added a range of interpretation panels and artistic installations to the site at Easter 2016. My role was to carry out the historical and archaeological research, write the text, commission the reconstructions and models, and also to work alongside artists and interpretation colleagues to deliver the rest of the project.

The new exhibition at Tintagel installed in 2015.

The new exhibition at Tintagel installed in 2015.

So, what are we doing now at Tintagel? This is the first year of a five year research project which aims to find out more about the early medieval (post-Roman) settlement on the site. Occupied between the 5th and 7th centuries AD, this extraordinary defended site had somewhere in the region of 100 buildings scattered across the headland. It was linked to a trading network connecting it to the Mediterranean world – more imported amphora and fine tablewares, as well as fine glasswares, have been found at Tintagel than anywhere else in western Europe. We assume that this was an elite, possibly royal settlement, occupied perhaps by the rulers of the kingdom of Dumnonia. But there is much that we don’t understand – when exactly was the site occupied? What sort of activities were being carried out on site? Was it a seasonal settlement? What did the buildings look like? Were they stores, workshops or houses? Although excavations took place at Tintagel in the 1930s by C. A. Raleigh Radford, this was largely clearance work to display the building remains to the public and many of the records were lost when Radford’s Exeter house was bombed in the Second World War. A small amount of work was carried out in the 1990s by Glasgow University but it was restricted to the area already disturbed by Radford.

Site C, a range of buildings excavated by Radford in the 1930s and again by Glasgow University in the 1990s.

Site C, a range of buildings excavated by Radford in the 1930s and again by Glasgow University in the 1990s.

Cornwall Archaeology Unit (CAU) have been commissioned to carry out this research work which involves two seasons of excavations, plus post-ex analysis and publication following. This year’s archaeological work is an evaluation of two key areas of the site to establish the nature of the post-Roman remains and to identify one of the two areas for more in-depth archaeological work next year. The two areas were chosen as they were likely to preserve good archaeological stratigraphy and were undisturbed by medieval activity or later archaeological work. The first area is on the southern terrace where a small trench was opened as part of the Extreme Archaeology series in about 2003 – remember that? It had some dramatic footage of Alice Roberts dangling off a rope but actually the terrace is very accessible and not that scary to work on! The second area is on the eastern terraces, not far from the visitor steps up to the chapel area of the headland.

Whilst the TV crews were filming the archaeology and interviewing colleagues, I had a chance to look at the trenches for the first time. As I write the excavations are still ongoing, but early results look very interesting, with walls and areas of paving, and lots of finds including amphora fragments and pieces of glass.

Staff and volunteers from CAU hard at work in one of the southern terrace trenches.

Staff and volunteers from CAU hard at work in one of the southern terrace trenches.

Once the media interviews were over, I went up to the mainland courtyard to check on the set up for my talk to visitors. We have been hosting events for our visitors all week to tie into the excavations – regular talks from the site team in the morning and then a programme of talks from different specialists in the afternoon, as well as hands-on activities for children. Various staff and volunteers from CAU have also been on hand to talk to visitors about the archaeology at the trench edge. Of course, this is one of the busiest times of year being the summer holidays, so it takes quite a bit of time to get up and down the steps to the headland due to the sheer numbers of people – this narrow and steep route is the only way on and off the castle, at least for the time being!

My talk is entitled ‘Tintagel: where history meets legend’ which is also the title of the exhibition. I’m trying to explain to visitors how history and legend at Tintagel are completely intertwined – you can’t understand one without the other. My audience is typical for Tintagel visitors at this time of year – lots of families, children and a few attentive dogs. I try to explain how the site has became attached to the tradition of King Arthur and also introduce them to the other key legend at the site – the love story of Tristan and Iseult, and weave in the history of the site too. They all listen wonderfully and then I get lots of questions about the castle, the archaeology project and King Arthur. Various people come up afterwards to ask more questions about the site, including one teenager who wanted advice on becoming an archaeologist.

After a late lunch, I head back up to the castle to see how the panels and installations were being received by visitors – it is lovely to stand near a panel that you have written and hear people read it out to their children and see them engage with the sculptures and reconstructions.

An interpretation panel at Tintagel Castle

Visitors reading one of our new interpretation panels near the Great Hall. This one has the remains of a medieval feast in bronze on the top.

I also wanted to take some more photographs of the archaeology in action and speak to the volunteers. We had been planning to have lots of social media coverage but unfortunately broadband has been down at Tintagel for several days and there is no mobile signal, making it difficult to upload posts! Luckily one of the volunteers is a dab hand with photogrammetry and has made some brilliant 3D models of the trenches. He is also happily filming everyone with a handheld camcorder for the BBC’s Digging for Britain.

Unexpectedly I have a spare morning before my second talk to visitors tomorrow afternoon, and my offer to help in the trenches is seized upon by the team – luckily I have packed my trowel. It’s not often I get to actually do real archaeology – this will be a first in 11 years in the job!

Planning the trench - what a view!

Planning the second trench on the southern terrace – what a view!


Preparations for Archaeology Month in the City of Brotherly Love Philadelphia, PA

By Ryan Rasing

STAR “Students Tackling Advanced Research” Scholars Program

Digital Media Department, Antoinette Westphal College of Media Arts and Design

Drexel University, Philadelphia, Pennsylvania, United States of America

I am a freshman studying Game Art and Production at the Antoinette Westphal College of Media Arts and Design, Drexel University. This summer I am participating in the STAR (Students Tackling Advanced Research) Scholars Program. Working under Associate Professor Dr. Glen Muschio. Today I am storyboarding two Public Service Announcements (PSAs). One PSA is for a Philadelphia archaeology event open to the public, the other is to announce Pennsylvania’s Archaeology Month, set for October this year. The PSA’s will be shown on a giant LED screen on the 27th floor of the PECO (Philadelphia Electric Company) Building in Center City, Philadelphia.

Philadelphia PSA Draft Screenshot

One of the PSAs will show Philadelphia’s skyline rising above layers of stratigraphy. Selected 3D artifacts will begin to move across the screen superimposed over the skyline/stratigraphy background. As the artifacts exit the frame, text follows announcing, “Explore Philadelphia’s Buried Past 10/10”.  The PSA will run 30 seconds in length and will be shown on the PECO Crown Lights for 3 days in October.

The second PSA will also feature 3D models of archaeological artifacts from the Independence National Historical Park’s collection. Last week I assisted Digital Media grad student Jonnathan Mercado in scanning and photographing artifacts selected by INHP Chief Historian and archaeologist Jed Levin.

Inspecting artifacts at the Independence National Historical Park
Inspecting artifacts at the Independence National Historical Park (From Left: Jonnathan Mercado, Ryan Rasing, Jed Levin)
Working on the PSA
Working on the PSA



The power of making – or what it means to do archaeology through creative experimentation with media

I’m oodles of days overdue in contributing to the annual Day of Archaeology (11 July 2014). The delay relates in part to what I’ll discuss below – The Heritage Jam – and in part to the fact that I’m simultaneously prepping to leave for fieldwork at Çatalhöyük on Sunday, finishing multiple articles and reports, and preparing for the adventure that will be the next five months of my life, wherein I’ll be abroad for my sabbatical (more on that another time!). But being late in writing this post has given me a bit of time to reflect—and most importantly, to collate reports from others—on the event that consumed my Day of Archaeology, not to mention all of the days leading up to it, and all of the days immediately after.

On 11 July 2014, supported by the Department of Archaeology at the University of York, and the Centre for Digital Heritage, we hosted the first ever international Heritage Jam. The Jam was a variation on the jamming sessions common in the gaming industry, where adhoc groups congregate for intensive periods of time to produce game prototypes. But instead of games, we were keen to put a spotlight on the many different media that comprise the portfolio of heritage interpretation – from illustration and art to moving-imagery and animation to photography and design to sound and tactile interventions. And instead of live in-person sessions only, we were keen to open up participation to both remote and local registrants, weaving together the online and offline worlds.

The Heritage Jam

Flo Laino and Julie Rugg discuss the York Cemetery, gathering resources for the Heritage Jam. Photo by Colleen Morgan.

The Heritage Jam ultimately coalesced into a multi-part project, all of which is documented on our website, blog, Twitter and Facebook pages. The goal was for individuals or groups to create some kind of visual output (whose process of creation was also documented in a paradata paper) for upload to our online gallery and for physical display at the University of York. The entries were judged on a series of assessment criteria, and had to attend, in some fashion, to the theme of burial (literal or metaphorical, of humans or non-humans). For in-person contributors, we decided to focus the Jam Day efforts on a particular case study site—the York Cemetery—which was necessary to provide some focus to what was an otherwise vague directive (i.e., “work with an assigned group to make new interpretative materials”). And our team created a series of multi-media resources to support understanding of that site, including videos, photos and compilations of archival records.

By my reckoning, the day was a success, attested to not only by the phenomenal outputs submitted by an incredible range of contributors, but also by the feedback we’ve received from those involved and those who’ve viewed the gallery, some of whom have documented the constructiveness of the approach & its outputs on their personal blogs & Day of Archaeology posts (see links below). Coupled with a specific social media use/evaluation plan that we’ve designed for the Jam, we’re analysing experiences and engagement with the project for a larger report that we’ll file at the end of the month. But the superficial numbers (which will soon be blended with qualitative data to provide a rich, contextualised understanding of participation) indicate that we had 92 registrants from most continents of the world, 17 official entries submitted by 37 contributors, 249 Twitter followers & 161 tweets, and 474 Facebook followers from more than 40 countries, speaking more than 30 languages, with a total reach of posts to over 6600 people. Given that we only launched the project in May, we’re pleased with the visibility it’s received—but more so with the quality of the entries, which are truly fantastic.

You only need to browse the entries in the gallery to see the remarkable talent that infuses the tiny proportion of the heritage sector that registered for the Jam. This is important, because there is ample evidence that creative experts working in the heritage sector are undervalued, underpaid, underestimated and often undermined. Part of the intent of the Jam was to expose the depth and breadth of expertise amongst the professional community, and the possibilities that come with actually investing in such expertise. My colleague Anthony has worked to summarise each contribution, and others have gone further, with the brilliant Archaeogaming blog (a forum for exploring video games as they intersect with archaeology) reviewing in detail the winner of the Remote Team Heritage Jam category – Tara Copplestone and Luke Botham’s Buried: An Ergodic Literature Game. Buried (created with the open-source, nonlinear, interactive storytelling tool Twine) is ingenious, thoughtful, fun and sensitive, and I encourage everyone to give it a try. As Archaeogaming’s Andrew Reinhard writes, “Buried is both a game and not a game. It is a playable book, and one with exceptional replay value. Archaeologists and archaeology are both portrayed realistically, and at the same time are neither boring nor sterile, proof that archaeology can stand on its own without resorting to gimmicks or stereotypes…Buried is playful, but also provides plenty to discuss regarding what is a game, and how our personal experiences are brought to bear on choices made within this kind of media, and on this story specifically.”

Equally astounding is the winning entry for the In-Person Group Heritage Jam category: Stuart Eve, Kerrie Hoffman, Colleen Morgan, Alexis Pantos and Sam Kinchin-Smith’s Voices Recognition. As Morgan summarises it on her and Eve’s joint Day of Archaeology post about the work, it was an effort “to create a cacophony in a cemetery — geolocated stories emanating from graves that would increase in intensity with the density of burials in different areas.” In true collaborative fashion, it drew upon previous experimental efforts by the great Shawn Graham in partnership with Eve, which Graham describes in evocative fashion: “I want to develop an app that makes it difficult to move through…historically ‘thick’ places…with a lot of noise when you are in a place that is historically dense with information. I want to ‘visualize’ history, but not bother with the usual ‘augmented reality’ malarky where we hold up a screen in front of our face. I want to hear the thickness, the discords, of history. I want to be arrested by the noise, and to stop still in my tracks, be forced to take my headphones off, and to really pay attention to my surroundings.”

This is exactly what Voices Recognition achieves in its prototype form, put together after a 30 minute trip to the York Cemetery and about 10 hours of intensive group work in a classroom at the university.

I have to admit that when the group presented their output at the end of the day, I was truly awestruck, so much so that it rendered me quite emotional. For it was a glimpse into what great things can be accomplished when you’re able to nurture the right context: an incredible idea (tested out previously with Graham) comes together with an incredible team of people (some of whom were strangers to one another), all converging here into something with a real and profound power to resonate. As I said to Morgan after the event, it was inspirational – and it really was; it made you want to learn how to do such work; it made you want to use the app; it made you want to join their team, and create with them, and be energised and motivated by their ideas, and to experience the cemetery through this lens that they invented right there, in the moment, on the Day of Archaeology.

These entries are just two of 17 that deserve your attention and perusal, so please browse through the gallery, and add your comments to the site or to our Twitter or Facebook feeds. There are contributions from around the world, articulated via a plethora of media, submitted by both new and established practitioners.

The Heritage Jam

Touring the York Cemetery for the Heritage Jam. Photo by Colleen Morgan

I won’t pretend that all the comments we got about the Jam were positive (although the vast majority were), nor that there’s no room for improvement. It was a massive amount of work; it depended on a team of 11 organisers; it required openness to creating things quickly, which means making mistakes and wrestling with practicalities and exposing one’s process, and hence one’s potential vulnerabilities and weaknesses; it demanded doing just as must as intellectualising, which can be problematic given how theoretical much extant ‘archaeological representation’ discourse is; and the in-person event hinged upon teamwork, which as any educator will tell you, can go horribly wrong—but, in the best cases, can equally blow you away in admiration.

In our effort to provide some definition to the exercise of heritage jamming, we did consciously choose to focus on a particular site – the York Cemetery – and this caused some concern around why we were privileging that environment. But archaeology has these tangible dimensions to it, and as much as we wanted to leave the Jam brief entirely open, we also wanted to create a project that knitted the material and the immaterial, the online and the offline, the tangible and the intangible, the process of abstract thinking with the real-world, concrete act of making.

To have eliminated the cemetery would have returned the event to the intellectual exercise that the subject of ‘visualisation in archaeology’ has long been. Moreover, to have deprived Jammers of the opportunity to visit the cemetery would have meant depriving them of a series of experiences—from the reflectivity that’s encouraged through walking, to the camaraderie and knowledge that are built through shared embodied engagements with a physical landscape. In her blog post about the Jam, Holly Wright of the Archaeology Data Service, speaks about of the nature of the cemetery, a breathtaking and deeply reverberating space which is barely known in the York community (despite the fact that it houses the history of much of that community). There is value cultivated for heritage spaces through both our analogue and digital—and our physical and intellectual—engagements with them. The cemetery provided us with a site to experiment with the weaving together of it all.

I’m proud of what we achieved through the Heritage Jam and I would encourage others to consider this format for their own work, particularly if you’re directing the outputs into larger, targeted, useable resources. The fleeting composition of the Jam belies a venture with a longevity to it that extends beyond the Day of Archaeology, so I hope you’ll keep your eyes on the project to see how it develops from here.

The Heritage Jam

Heritage Jamming at the University of York. Photo by Colleen Morgan,

Let’s Dig Again – Archaeology, Communication and Music

We would like to participate in the Day of Archaeology to explain what an archaeologist could do with a webradio and a lot of ideas.

“Welcome to a new episode of Let’s Dig Again! Today, with our guests, we’re going to tell you about…”

We are Andrea and Alessandro and with these words we begin every episode of our web radio broadcast. We started the first Italian web radio broadcast with archaeology as its topic. You may wonder about how it all get started.

Being archaeologists and students of archaeology ourselves, we always get asked “what do you do in an archaeological site?”. We are also often compared to famous movie characters, which, to be honest, is a thing we hate because we too would like to punch some Nazi in the face between one excavation and the other.

Leaving jokes aside, a year ago we set our goal to find the most efficient way to answer these questions while avoiding long and boring conversations (of course, even the most interesting subject, can become boring in a lecture). In times like these, when communication have such a significant and essential role in cultural heritage studies and history, we felt the need to try and talk about archaeology in a new and innovative way.

But why the radio? It’s a mean of communication that in the last few years, with the rising popularity of web radios, has become rather commonly used online. Spreaker is an Italian multimedia platform which lets its users broadcast shows all over the internet. Having a massive and active community, Spreaker happens to be an optimal tool for sharing contents and letting them be viewed and known by the other users. This website is easy to use and it gives the user the chance to share his podcasts without downloading any program at all.

The mission of “Let’s dig again” isn’t simply to be a program about learning, we also aim to entertain the listeners with a variety of songs during the show. From 60’s rock music to 90’s pop, through 70’s and 80’s dance, until the genres of today, such as indie rock and Irish folk; music is very well embedded in our shows, it acts as a likeable background to every episode. The name of our show itself is based on the famous song by Chubby Checker: “Let’s twist again” (which is also used as the opening of every episode). Deciding to use Chubby Checker’s “Let’s twist again” as an opening (while deciding the title of our show) wasn’t a given since it took 2 hours to choose which song title could be adapted to a wordplay concerning archaeology.

As you probably already understood, the idea is to combine music and archaeology in a format that is supposed to make easier and nicer the learning of such specialized (and not well known) scientific topics. The important thing to keep in mind is that we need to make good use of the 45 minutes per episode Spreaker gives us: every episode aims to be divided in 20 minutes of music and 25 minutes of talking about archaeological topics. Every tracklist is prepared right after we’re sure about the guest who’ll be talking in the episode (who is usually a teacher, as in the shows directly from Vignale Riotorto-Piombino, Miranduolo-Siena; or an assistant, a PhD student or an archaeologist who is willing to talk about his job).

It all started as a game but now the show’s becoming more and more well known. At first it was just an experiment between four walls (we were transmitting from the living room of my place) in Siena, now it’s becoming a part of communication in archaeology (or, at least, we hope it becomes that successful). Staying still, in the same university would have made the show quite dull after some time, the choice of topics would have become redundant. We, therefore, decided to find guests in other cities (this was helped by the transferral to Bologna of my partner for study reasons). Here, in April, we celebrated the first year of “Let’s dig again” with a series of special episodes in the archaeology department, followed by going to ArcheoFOSS ( in Verona in June.

Hoping to be able to celebrate many more birthdays “Come on, Let’s Dig Again!”

You can find us on Facebook and Twitter.



Students in archaeology

Me giving the closing address for the 2nd ASA conference (Image Copyright: Heidi Babos)

Me giving the closing address for the 2nd ASA conference (Image Copyright: Heidi Babos)

Hello, I am David Altoft, currently an MSc Bioarchaeology student at the University of York. My contribution to the Day of Archaeology last year was titled ‘Anyone can be an archaeologist!’ ( The opening paragraph summarised well my belief that archaeology needs to be more permeable to participation and sharing of ideas from an integrated audience of different demographics.

The ‘demographic’ I belong to is archaeology students. Last year I reported on the development of the student-run archaeology journal, The Post Hole (, and the Annual Student Archaeology (ASA) conference series (, that I was Editor-in-Chief and founder of, respectively, in 2012-13. These two initiatives offer archaeology students an unprecedented opportunity to share their innovative research and original ideas in two accessible and increasingly respected platforms.

The Post Hole has been shortlisted for the biennial British Archaeological Award ( for the Best Public Presentation of Archaeology and I will attend the awards ceremony at the British Museum with Emily Taylor and Rianca Vogels, the 2013-14 Editor-in-Chief and Managing Editor, on Monday to find out whether or not The Post Hole has won. I will be delighted even if it doesn’t win, because by being shortlisted, The Post Hole has been given recognition for the positive impact it has made for opening the discipline of archaeology and proving that students can be as responsible as any other demographic for the production of great archaeology.

Annual Student Archaeology conference
The Annual Student Archaeology conference has made huge strides since last year. Following the 1st ASA conference I co-organised with other students at the University of York, I established the ASA National Committee which comprises of student representatives, currently from the Universities of Bournemouth, Cambridge, Durham, Southampton, and me at York. Together we have promoted the conference series to fellow students at our respective universities and discussed the future overall direction of ASA. In January this year we received bids from groups of students at four universities in the UK to host the 2nd ASA conference and we selected the University of Reading as the Organising Committee responsible for this challenge.

The 2nd ASA conference was held at the Department of Archaeology in Reading on 19-20 June and attracted undergraduates and postgraduates from not only across the UK, but also from other countries: Brazil, Germany, India, Italy, Poland and Switzerland! This has reinforced my growing realisation that an ‘integrated archaeology’ is permeable across borders as well as demographics. ASA helps break down this geographic barrier to student participation in archaeology by issuing a call for posters to those who cannot attend the conferences in the UK, and this year’s Organising Committee received poster abstracts from students in Nigeria, South Africa and the United States, amongst other countries.

ASA2 delegates networking with the IfA

ASA2 delegates networking with the IfA

ASA2 delegates networking with the Royal Archaeological Institute

ASA2 delegates networking with the Royal Archaeological Institute

The third main barrier ASA is trying to remove for student participation in archaeology conferences is thematic and practical specialisation. Archaeology is perhaps the most diverse discipline there is, as it is essentially the anything, everything and anytime study of the past. Understandably, conferences require having a scope, though many students may be unsure which one to approach to present their own work. ASA tries to be the opposite of most conferences and so the Organising Committee has the task each year of selecting the best papers from students across the discipline and then defining the sessions from those. It is difficult accommodating different fields of research and being engaging to all delegates of the ASA conferences, though I think the team at Reading achieved that balance by splitting the programme for the first ten sessions in two and having the eleventh and most universal session, ‘Issues and Debates’, attended by all delegates.

TAG session proposal
The truth of the matter is that we won’t ever achieve a completely ‘integrated archaeology’ as we all have our own interests that cause us to be involved in this discipline in the first place; however, there certainly is a lot more we can all do to ensure archaeology is at least a more integrated discipline.

For my part, I am currently finalising a session proposal to submit to the organisers of this year’s Theoretical Archaeology Group (TAG) conference. Whilst ASA is doing a great job of encouraging students to share their own work and ideas with the discipline, I would like to do almost the opposite and use another existing platform to ask the discipline as a whole how it currently interacts with students and what it could perhaps do to better integrate with this demographic.

It’s fantastic that there is growing consensus across the discipline that we need to better understand and interact with the public ‘outside’ the discipline and with practitioners between the academic and non-academic sectors of the discipline, but what about students in between all these groups? Are students the too often overlooked demographic of archaeology?

I hope that my proposal for a session on understanding of and engagement with students will be accepted for TAG 2014, and a subsequent call for papers can obtain the perspectives of an integrated audience from the different sectors of the discipline. Keep an eye out for any news via my Twitter profile, @DavidAltoft.

The future of ASA
So what else have I been doing lately? On Wednesday, I and fellow representatives on the ASA National Committee ratified a constitution for the conference series. Like The Post Hole, ASA benefits from being entirely run by students as this leads to a rapid turn-over of participants, and with them, fresh ideas. However, that also creates problems. I have been working behind the scenes for ASA for almost two years, whether it’s been by rallying support for ASA on its Facebook and Twitter pages, creating it’s by-now emblematic stripy red banners, or sending hundreds of emails to universities and academic and student societies. I’ve had a mad love for ASA to thrive; however, I won’t be a student forever (as soon as September, if I don’t secure a funded PhD – hint, hint, universities and funding bodies!) and so this constitution serves as a framework of knowledge from previous trial-and-error to guide future Organising and National Committees.

Southampton representative, Alistair Galt, handing out questionnaires at ASA2

Southampton representative, Alistair Galt, handing out questionnaires at ASA2

Following lots of discussion with the rest of the National Committee, applications have been opened today for students at universities across the UK to bid to host the 1st ASA conference in June 2015 and apply to join the National Committee for 2014-15. For the former opportunity, we have designed an application form, available now at For the latter opportunity, we have emailed the Heads of all UK university archaeology departments to encourage them to consider having elections in their departments for students to democratically elect representatives onto the National Committee at the start of the coming academic year.

Students wishing to join the National Committee at universities that haven’t held elections by 7 October will be offered a second chance by sending brief statements of interest for the consideration of the retiring National Committee during 8-27 October. The new National Committee and Organising Committee (and thereby host of ASA3) will be announced on 28 October at and

My Masters and future
Like last year, I’m not writing much about what I do for my degree. That’s not because it isn’t the most important thing I spend my time on and interesting at all; it’s just something I’m sure any current or previous student reading this will already know about and identity with – lots of reading and writing!

I am currently working on my dissertation, the final element of my Masters in Bioarchaeology, before I hopefully graduate in September. I have written the chapters introducing my research and reviewing the existing literature, and am balancing that with the lab work that is generating the results I will also write on. My research is the biomolecular analysis of food residues absorbed and preserved within ceramic vessels from the Early Neolithic in western Russia, firstly, to find out whether I can find any traces of their original contents, and if so, secondly, to determine what they are to infer something of cuisine during the Neolithicisation of that region.

Hopefully, if I contribute to the Day of Archaeology again next year, I will be doing so as a PhD student. It is an uncertain time for me as I pursue funding and the best possible environment for me to be one, though far from being a distraction as some people understandably worry, my involvement with initiatives like ASA and The Post Hole hopefully prove that I am passionate about archaeology and have more to mutually give to and gain from it – especially with my now much improved time management skills!

A Day in the Life of Current Archaeology

We love office birthdays (and biscuits!)

We love office birthdays (and we love biscuits even more!)

Hello, and welcome to Lamb House, a converted brewery building that lies a stone’s throw from the Thames in Chiswick, West London – home to Current Archaeology magazine, as well as our sister publications, Current World Archaeology, and Military History Monthly.

Today we’ve very much got that Friday feeling – possibly not helped by there still being vast amounts of cake in the office, from two team birthdays yesterday! – but as ever, there’s still lots to do. CWA went to press yesterday and their editorial team are just kicking off things for #67, while MHM is planning a big event for October.

Postcards from Team travels - and our office cooking rota

Postcards from Team travels – and our office cooking rota

Our Editor in Chief, Andrew Selkirk, has also dropped by for a visit – for the last few weeks he has been travelling all over the world, visiting fabulous archaeological sites (and gathering fabulous archaeological stories!) in Greece and China, which no doubt he will be keen to turn into articles soon. Right now he’s sitting with our design team, looking through holiday snaps (we mean site photos!).

Over at CA, we’re comfortably mid-cycle (click here to see what’s in out latest issue!), working towards the print deadline for issue 294. That means that much of the magazine has already been laid out, but there’s still news, book reviews, and a few odds and ends to polish off. Just as well we like to be busy…

We sent PDFs of most of our features back to their authors last week, so this has mainly been a day of making any final tweaks they might ask for – to make sure the articles are as accurate as possible, and that everyone’s happy with how they look – as well as hunting for some extra pictures, chasing up a few news stories, and finalising plans for a site visit next week – there’s nothing we like more than coming to see excavations.

Office mascot (knitted by one of our super-talented readers)

Office mascot (knitted by one of our super-talented readers)

Today also saw us putting the finishing touches to the text of the last feature yet to be completed – it’s an exciting one, and a bit of a CA exclusive, so we’re really looking forward to sharing it with you in a few weeks’ time – watch this space!

Wishing you all the best for the rest of the Day of Archaeology – and have a great weekend,

Carly Hilts
Assistant Editor, Current Archaeology

Evening and More Creative Thoughts

You can’t put down a good read. Still going through my pile of references and finding more on the Internet.  There is a fascinating policy context for engaging young people in archaeology. It’s frustrating that archaeology hasn’t really engaged with the wider debate about young people. I can hold myself partly responsible for this as I was the Head of Education at the CBA, and was with the CBA for 17 years. I now think I spent far too much time sitting on committees and being concerned about the school curriculum. Ah well. There are plenty of good people in archaeology working with young people and I’m sure that greater political awareness will come about without me worrying about it.

I do think we’re far to insular in the UK and don’t look internationally enough at the good work going on elsewhere. How many here know of the World Heritage Education Programme?

One depressing statistic I’ve picked up today. 77% of media reports about young people are negative or unfavourable and that becomes 83% in broadcast media. I wish the media could see some of the work of the Young Archaeologists’ Club. It might open their eyes – but then they won’t want to see it as bad news is always more newsworthy it seems.

Right – time for chocolate.