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Reconstructions, Archaeotechnique, Experimental Archaeology - what is all this?

Let us start with the definition of archaeotechnique. This is the research into and the use of old craft procedures and other techniques, including their demonstration (for instance in museums). Archaeotechnique also includes the re-making of objects found in archaeological excavations. 

It's a reconstruction as soon as there is part of the object, or part of the information, missing. This applies both to objects and techniques or methods. Once more or less of the item or process are lost, these parts have to be filled in. For example: a textile find is to be reproduced, and colour analysis has resulted in information about the dyestuff used. However, it is not possible to tell how intense the colour was, or its exact hue. Similar finds, other sources such as images or texts, and ethnographical data can help making the guesses in a reconstruction more informed, but there is no way to prove that the result is absolutely identical with the original. Even if the reconstruction is tested in practice and works perfectly, that is no proof.  

There are several different options for reconstructions. Most involved is making the object with accurate materials and only using techniques and tools that were (presumably) also used for making the original. This can be extremely costly and time-consuming, however - so for most reconstructions, compromises are made. In many cases, modern tools and methods are used, at least where there is no discernible influence on the end result - such as using modern drills or saws. In some cases, more of a deviation from the original is deemed acceptable, for instance when the aim is to give an impression of something that is only seen from a distance - or if the budget does not allow for anything closer to the original.

So reconstructions and archaeotechnique are quite closely connected to each other. Experimental archaeology, on the other hand, can have an overlap with both, but is a very clearly defined and distinct thing. An archaeological experiment is always designed around a question that it is (hopefully) going to answer. The methods and materials that are used during the experiment are not necessarily the ones used in historical times; it is more important that they allow the core question to be answered. During the last decade or so, "experimental archaeology" has become a bit of a buzzword - it's thus worth it to look a bit more closely if something is labeled as an archaeological experiment, as that is not always really the case.

 In this part of the website you can find more information on reconstructions that I made - on my own or in collaboration - as well as more information on experimental archaoelogy.

"Experimental Archaeology" has become a buzzword in recent years, and it can be found more and more often outside of academic work, especially in instructional books and in context of Living History and history demonstrations.

Be aware, though, that not everything that claims to be "experimental archaeology" lives up to its claim. Quite often the label is attached to demonstrations, or to things that would better be called "experiential archaeology" or, less confusingly close to the word "experiment": gaining experience. This includes making replicas and working with historical crafting methods and materials, either to gain experience with these methods and materials or to make items according to historical originals for use. In experiential archaeology, boundaries between demonstrating, teaching, trying out techniques and making things for use are fluid.

Materials

We have diverse sources on medieval clothing that show a variety of materials was used: animal fibres (wool, silk, animal hair such as goat) as well as vegetable fibres (linen/flax, nettle, hemp, and in some circumstances cotton).

Some of the fibres, such as silk and wool, are still readily available today - however, they can differ significantly from the medieval variations of wool and silk. Other kinds of fibre, for instance goat hair, nettle or hemp only have limited availability, and sometimes can be impossible to get.

Being able to source a specific fibre, however, does not yet mean that suitable fabrics for a reconstruction are available. Historical fabrics were made from yarns with a much higher twist than usual today. The result? A very different kind of fabric. Modern woven cloth usually has much less structure in the surface, a much softer hand and is less resilient and hard-wearing. In addition, historical fabrics develop a shiny surface as they wear down, while modern cloth usually stays matte.

Thus, if your reconstruction is supposed to include the correct hand or wearing experience, it is necessary to use high-twist yarns for the cloth. Due to technical reasons, weaving those yarns into fabric has to be done by a hand-weaver.

I have done a number of works for museums, both alone and in collaborations with colleagues. My work ranges from consultations and workshops or courses for museum staff to reconstructions for exhibitions. 

Here is a short overview on some of the projects that I was involved in:

Spinning for a reproduction of the Hallstatt tablet woven band, part of the FWF project "Dyeing techniques of the prehistoric Hallstatt-Textiles: analysis, experiments and inspiration for contemporary application".

 

Archaeological experiments are their own beast, and there's no one-size-fits-all solution for their planning, running, and documenting. There are a few things that have turned out to be very helpful in my own experience, though. 

When you're designing your experiment, the core thing to keep in mind is your experiment question, and everything else should be built around that. You will have to select tools, materials, and procedures that allow you to answer your key question. For each selection regarding tools, materials, and processes that you make, you must evaluate whether using a modern tool or process (which often can be controlled better, or ensure that each part or repetition is the same) or the historical tool or process will serve better.

Once your experiment design process is done, it has been proven very helpful to go through this experiment step by step in your mind and write down notes on what happens when and in what sequence, how long each step will take (approximately), and what tools and materials you need for each step. A test run might be even better, but in most cases, that is not feasible.

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