Abstract
The authors reveal a dramatic but previously unsuspected pattern in archaeological illustration: the presence of smiling faces composed of artifacts arranged in plates of archaeological illustrations and photographs. In this paper, we explore the possible meanings that lurk behind and emerge from these mysterious portraits, questioning whether they are byproducts of human agency or whether, instead, they represent new examples of how material objects act back on (or “interfere with”) human agency.
Résumé
Les auteurs révèlent un motif dramatique mais jusqu'à présent insoupçonné de l'illustration archéologique : la présence d'artéfacts arrangés de façon à composer des visages souriants sur des planches d'illustrations et de photographies archéologiques. Dans cet article, nous explorons les significations possibles qui se cachent derrière et émergent de ces portraits mystérieux, en nous posant la question de savoir si nous avons affaire au résultat d'une action humaine délibérée, ou s'il s'agit là de nouveaux examples de la façon dont les objets matériels réagissent à (ou « interfèrent avec ») les actions des hommes.
Resumen
Los autores revelan un patrón impresionante pero insospechado previamente en la ilustración arqueológica: la presencia de caras sonrientes compuestas por artefactos colocados en láminas de ilustraciones arqueológicas y fotografías. En el presente documento, exploramos los posibles significados que acechan detrás de estos misteriosos retratos y emergen de los mismos, cuestionándonos si son derivados de la acción humana o si, en cambio, representan nuevos ejemplos de cómo los objetos materiales frenan (o “interfieren con”) la acción humana.
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Acknowledgments
This research on the materiality of happiness began more than 30 years ago when the two authors were graduate students at the University of Massachusetts, taking seminars from H. Martin Wobst. It was Stephen who first started to notice images such as the ones we discuss here, and Joan was charmed. So we married and here, after many years, is the outcome of our continued joint research on the topic. We wish to acknowledge and thank Martin for his ceaseless inspiration, support and enthusiasm, his encouragement to read widely in disparate literatures and languages, his humor, imagination and forbearance, then and now, now and then. Thanks also to our two anonymous reviewers—Bob Paynter and Susan Kus—for helpful tips; they remain faceless if not nameless; thanks as well to the truly anonymous reviewer. And a tip-of-the-hat to colleagues and friends Claudine Scoville, Ruth Trocolli, Diane Gifford-Gonzales and Dorothy Lippert for encouragement and contributions. Neither they, nor Martin, can be implicated in the interpretations presented here, unless the guilt is by association, alas inescapable.
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Notes
Notes
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1.
Whimsy does not figure significantly in the documentation of archaeological sites and features, see however the giant squirrel hidden in the foliage of the oblique perspective drawing of the Poverty Point site in Louisiana (Ford and Webb 1956, Figure 2).
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2.
This image is both the earliest published arti-face—1875—that we have been able to locate, as well as being the depiction of the oldest artifacts, more than 15,000 years old.
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Loring, S., Gero, J. The Evolution of Happiness. Arch 8, 376–402 (2012). https://doi.org/10.1007/s11759-012-9208-x
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DOI: https://doi.org/10.1007/s11759-012-9208-x