1. "Art and Imagery as Public Interpretation and Education Tools in Archaeology" -  John H. Jameson, Jr.
2. "Celtic Identity and Iron Age Art in Reconstruction and Display" - Harold Mytum
3."Art and Archaeology: Conflict and Interpretation in a Museum Setting" - Michael J. Williams and Megg Heath
4. . "Archaeology as a Compelling Story: The Art of Writing Popular Histories" - Sharyn Kane and Richard Keeton
5. "The Fiction of Archaeology and the Archaeology of Fiction" - Sarah Nelson
6. "Archaeology in Two Dimensions: The Artist's Perspective" - Martin Pate
7. "Deeper meanings: archaeology in the poets' domain" - Christine Finn
8. "Invoking Clio, Thalia, and Melpomene: the Archaeologist as Playwright" - James G. Gibb
9 . "Words For Hollow Voices" - Brian Catling*
10. "Archaeology Goes to the Opera" - John E. Ehrenhard and Mary Bullard
11. "Pompeii: An Archaeological Landscape for all Seasons" - David Orr
12. "The Archaeology of Song: Reconstructing Music of the Mesoamerican Ballgame" - E. Michael Whittington*
13. "The Archaeology of Music and Performance in the Prehistoric American Southwest" - Emily Donald
14. "Sacred Mounds, Sacred Bundles: Archaeology's Influence on Contemporary Native American Art in the Midwest" - Lance Foster*
15. "An Imagery Soundtrack for a Real Archaeological World Volume II: Museums" - Nicola Laneri
16. "Exploring Archaeological Knowledge Graphically in a Hypertext Environment" - Jeanne Lopiparo and Rosemary A. Joyce

Abstracts

1. "Art and Imagery as Public Interpretation and Education Tools in Archaeology"
John H. Jameson, Jr., National Park Service, USA
       Many archaeologists today are not content to rely solely on traditional methodologies and analytical techniques in their attempts to reconstruct human history and bring it to life for the public. They want to venture beyond utilitarian explanations and explore the interpretive potential of cognitive imagery that archaeological information and objects can inspire. They realize the value and power of artistic expression in helping to convey archaeological information to the public. Archaeologists are increasingly concerned with how the past is presented to, and consumed by, non-specialists. They want to examine new ways of communicating archaeological information in educational settings such as national parks, museums, popular literature, film and television, music, and various multimedia formats. This paper focuses on two such interpretive formats, two-dimensional paintings and popular history writing, and how they have been used by the National Park Service as public interpretation and education tools.

2. "Celtic Identity and Iron Age Art in Reconstruction and Display"
Harold Mytum (University of York, UK)
        Numerous fine items of Iron Age metalwork are displayed in museums, many possessing elements of La Tene art style. From these, and original items in other media such as ceramics and wood, a range of designs and artistic products are used in archaeological displays and reconstructions. These help to evoke a link with the Iron Age, but also carry with them associations with the Celts. Contemporary archaeological debate has concentrated on the relatively recent construction of Celtic identities, and problems with linking these with the Iron Age. This paper considers the role of art in evoking and reinforcing these associations, and the ways in which they can be manipulated by various groups within society. Using data from museums, reconstruction sites, and popular publications from Britain and Ireland, academic and public perceptions of the past can be analyzed within the context of art.

3. "Art and Archaeology: Conflict and Interpretation in a Museum Setting"
Michael J. Williams, Anasazi Heritage Center, USA and Margaret A. Heath, Bureau of Land Management Heritage Education Program, USA
Is it possible to provide art-oriented museum visitors with a fulfilling experience, without harming the cause of archaeology education, or short-changing archaeology-oriented visitors who come to learn about a past culture? Can a museum's art be prominently displayed without promoting the demand for (looted) antiquities? This paper will explore the conflicting values of visitors, art historians, and archaeologists that must be met by museum interpreters. It will focus on the ways these demands are addressed by one Southwestern United States institution.

4. "Archaeology as a Compelling Story: The Art of Writing Popular Histories"
Sharyn Kane and Richard Keeton, Writers and Editors, Marietta, Georgia
        The human past is the foundation of the science of archeology, and relating the details, both the exciting and the everyday, of how earlier people lived is the goal behind the popular histories we write for the National Park Service. In our contribution to this symposium, we will show how we take the archeological and historic record and weave the facts and theories into compelling stories to capture public imagination. Dramatic events, character sketches, and vivid settings are among the important elements we use to create dynamic portrayals far removed from dry, scientific writing, but accounts that nonetheless accurately convey research findings. We will cite specific published examples and explain the reasoning and techniques used to bring life and meaning to these cultural resources investigations.

5. "The Fiction of Archaeology and the Archaeology of Fiction"
Sarah Nelson, University of Denver, USA
A novel way to write archaeology is by means of fiction. From romance to adventure to who-dun-its, archaeological novels have been around for quite a while. Recently, though, they are proliferating. Here I will assess a few recent examples for their contributions to understanding archaeology and their usefulness in a classroom on the one hand, and their ability to extend interpretive archaeology on the other. Finally, I will consider the problem of authenticity - what is meant by that, and how is it important?

6. "Archaeology in Two Dimensions: The Artist's Perspective" -Martin Pate, Newnan, Georgia, USA

Nine years ago I was fortunate enough to have the opportunity to paint a most interesting scene. Officials with the National Park Service's Southeast Archeological Center approached me about recreating on canvas a 5000 year old prehistoric Indian site. My job was to take their study and knowledge of this village and "bring it to life" for the purposes of educating the public as to the importance and interest of history in that area. That collaboration between artist and archeologist was successful and did what text alone could not do. I will talk about my initial apprehension about working with archeologists, and, showing slides of my work, how I see myself as an interpreter of information.

7. "Deeper meanings: archaeology in the poets' domain"
Christine Finn, U. of Oxford, UK
        Poetry and archaeology have natural connections in popular works - Shelley's reflection on Ancient Egyptian remains in 'Ozymandyas', Keats's ode on a Grecian urn, Seamus Heaney's so-called 'bog poems' all of which are directly influenced by sight of, or narrative derived from, material of the past. These may be statues, objects, or long-dead people, glimpsed in landscape, museum or archaeological photograph for example, or drawn from legends and myths such as Homer's 'Iliad' or manuscripts. While acknowledging the role played by these as mnemonics in the imagination of the poet, this paper intends to explore further the relationship between the process and form of poetry and that of archaeological excavation. It will suggest poet and archaeologist are both artists working as mediators and transformers, each offering alternative, but complementary, perspectives on the past.

8. "Invoking Clio, Thalia, and Melpomene: the Archaeologist as Playwright"
James G. Gibb, Independent Scholar, USA
        Stage plays can teach through aesthetic experience, creating settings in which facts, figures, and historical relationships are depicted in a meaningful and integrated manner. Plays also can serve as tools for exploring the past because of those very same qualities. The archaeologist-playwright experiments with interactions among individual roles and larger historical events, first on paper and then in production. There are risks, particularly to the playwright's self-esteem, but if archaeologists are wise enough to step out of the safe and familiar, perhaps to play the fool, well...that too craves a kind of wit.

9 . "Words For Hollow Voices"
Brian Catling, The Ruskin School of Drawing and Fine Art, University of Oxford, UK
" Something in the earth, something in the water, something in their sacrificed blood
and darkness preserved them, kept their hidden bodies tight and detailed"
        In P.V. Glob's famous best-seller he tells a small story that is gathered up in the large drama of the first Bog People finds. The same tale is unearthed again and again and told through subsequent decades. When Grauballe man was discovered and first shown to the public, an old woman came forward and repudiated his ancient origins, saying he was Red Christian, a peat cutter she knew in her youth. A man of poor character who vanished after a drinking session sixty years before. The missing person or possible victim is always there to quickly snuggle into a fresh excavation; to joust for recognition with the long term dead.
        These are the core incidents that inspired THE CUTTING. It is a new video installation made for art galleries; a narrative work that explores sacrifice, passion and identity. THE CUTTING is the second work of an unusual collaboration between a poet, performance artist Brian Catling and a screen writer, director Tony Grisoni. THE CUTTING will be the loadstone and the foundation of my paper, which will examine the potent influence of archaeology on the imagination. Both the drama of the find and the process of reconstruction have parallel aspects in fine art studio practice. I will illustrate my paper with video extracts and slides.

10. "The Intersection of Art, Archaeology, and Humanism"
John Ehrenhard (National Park Service, USA) and Mary Bullard, South Dartmouth, Massachusetts, USA
        The annals of Cumberland Island National Seashore are filled with much adventure, misfortune, and sorrow. Against a backdrop of awe-inspiring natural beauty, the chronicle of human events seems so often to be shadowed in tragedy and suffering. Based on historical personages, actual accounts, and archival and archeological data, the operatic account of Elizabeth (Zabette) Bernardey is but one page of the thousands that make up this record. Zabette, a libretto in three acts, is the story of one woman's life endeavor in a world governed by the strict social codes and laws of nineteenth century Georgia; a world that governed all black and white relationships. It is the story of tragedy in an American family, but also of triumph of the human spirit.

11. "Pompeii: An Archaeological Landscape for all Seasons"
David Orr (National Park Service, USA)
        It has been fairly well established that the excavations of Pompeii have contributed much to the revival of Neoclassicism in the eighteenth century. But it is less well known that its cultural influence has been continuous from 1750 until the present day. Pompeii is the oldest continually excavated site in the western world; its very discovery spurred the advent of archaeology in humanistic pursuits. This paper will assess the significance of the Pompeian excavations in three distinct areas. First, its remarkable influence on opera and theater from the eighteenth century until the present time. This includes dramatic changes in set design and production. The emphasis will be on Italian opera but there are other examples as well. Secondly, Pompeii has also influenced literary works and this will be detailed; particularly where they are emphasizing material assemblages and architecture derived from the excavations. "The Last Days of Pompeii" will be re-analyzed in light of this methodology. Third, Pompeii's role in the arts of nineteenth and twentieth century America will be examined. This will include primary source material from the unpublished travel journals of Josephine Eppes who visited Pompeii in the early 1850's and described it in some detail .Mrs. Eppes was the bride of the master of Appomattox Manor (vc. City Point, Virginia) and toured Europe for over a year on an extended honeymoon.
        Pompeii is more than this for the arts. It acts symbolically as a site where the very meaning of what "discovery" is all about is constantly presented. In this broader context the essence of what archaeological "discovery" means can be more fully examined. The archaeological material from Pompeii is presented in a great variety of settings and matrices. This paper will address this topic, in many ways the nexus of what archaeology itself represents. The understanding of the complexity of Pompeii's interpretation, both verbally and non-verbally, will lead to a fuller appreciation of the great fascination Europeans and Americans had for this site. The paper will be illustrated by the author's own work on site in Pompeii since 1966.

12. "The Archaeology of Song: Reconstructing Music of the Mesoamerican Ballgame"
E. Michael Whittington, Mint Museum of Art, USA
        Music was a prominent feature of Mesoamerican life. Ancient works of art depict solo and entire bands of wind and percussion musicians in elaborate, multi-media performances associated with battles, accession rites, and the ceremonial ballgame. The ballcourts where the games were played were great public spaces where musical performances were carried out-much like modern half-time shows. Some of the richest sources for understanding pre-conquest music are the Cantares Mexicanos, lyrics written by Aztec scribes in Nahuatl under the direction of Fray Bernadino Sahagún in the mid-1500s. At least one of these songs relates to Xochipilli-the Aztec god of music and dance and the patron deity of the ballgame. This paper will examine the relationship of music to the ceremonial ballgame of the Aztec. The archaeology of the central precinct of Tenochitlán, especially the recent discoveries of ceremonial caches of miniature musical instruments from the central ballcourt will be discussed. Finally, selections from Cantares relating to Xochipilli will be discussed in the context of the exhibition project for which these are being re-scored for a public performance.

13. "The Archaeology of Music and Performance in the Prehistoric American Southwest"
Emily Donald, Columbia University, USA
        This presentation summarizes my work on the social and physical contexts of music and performance in the prehistoric Southwest. I t outlines a methodical approach to the study of music in prehistory, illustrated with examples from the Pueblo II and Pueblo IV periods in the northern Rio Grande Valley. The temporal, regional, and stylistic patterns to musical instruments from this area are presented in the context of the architecture, social organization, and regional history. The influence of this work on the public's perception of the past and the future of archaeomusicology are included as well.

14. "Sacred Mounds, Sacred Bundles: Archaeology's Influence on Contemporary Native American Art in the Midwest"
Lance Foster (National Park Service and Iowa Tribe of Kansas and Nebraska, USA)
        While the ongoing struggle between Native American interests and the aims of archaeology have often been in the public's eye, the enrichment of Native American art by archaeological investigation, and the enrichment of archaeology by Native American interpretation of iconography and aesthetics has been overlooked. This paper will give an overview of this mutually enriching partnership, with examples from the midwest, with a special focus on artists from the descendant tribes of the Oneota (Winnebago-Hochunk, Ioway, and Otoe), as well as suggested ways to strengthen this partnership in the future.

15. "An Imagery Soundtrack for a Real Archaeological World Volume II: Museums"
Nicola Laneri, Istituto Universitario Orientale, Naples, Italy
        After a first experience dedicated to analyzing the sounds produced during an excavation in Turkey (An imagery soundtrack for a real archaeological world), it has been decided to concentrate on another important aspect of the archaeological life: archaeological museums and the politics of display. This "soundtrack" will document interviews with curators, guards, and visitors of the two most important New York City museums: the American Museum of Natural History (AMNH) and the Metropolitan Museum of Art (MMA). The museums' physical locations within the city plan-at opposite ends of Central Park-serve as a methaphor for the ideological institutions' differing interpretations of archaeological materials, related to the AMNH's scientific approach and the MMA's fine arts approach. Sound will meet images.images of archaeological objects from the two museums . images from the "outside world" (pictures of the east and west sides of Manhattan surrounding the AMNH and the MMA). Sounds and images can be used to exemplify the contradictions between the institutionalization and intellectualization of archaeological processes and the original events, as well as the experiences and dream states from which they are derived. The deconstruction of these moments and their reconstruction through sounds and images can be used to counteract the formal logic of the archaeologist's reconstructive power.

16. "Exploring Archaeological Knowledge Graphically In A Hypertext Environment"
Jeanne Lopiparo and Rosemary A. Joyce, University of California, Berkeley, USA
        "Crafting Cosmos", a multimedia hypertext, is meant both to represent structuration theory as applied to understanding households in the Late Classic Ulua Valley, Honduras, and to exhibit some of the properties of structuration theory in a compelling visual way. "Crafting Cosmos" assumes that through visually and aurally attractive media, archaeologists can communicate extremely complex material that is often considered too difficult for non-specialists. We argue that the recursive process of creating understanding through navigating hypertext is an example of, and model for, the way cultural understandings are arrived at through the creation and use of material culture in general.

General Inquires:  Contact John Jameson, Southeast Archeological Center , National Park Service, 2035 E. Paul Dirac Drive, Tallahassee, Florida 32310, phone 850-580-3011 extension 243, fax 850-580-2884, e-mail: john_jameson@nps.gov.

*Publication only