The Hammock Papers: Archaeology.

17 May 2015

Archaeology.

The Monticello field school offers a hands-on introduction to basic excavation, recording, and laboratory techniques in archaeology. The course emphasizes a scientific, multidisciplinary approach to doing landscape archaeology. It also provides the opportunity to contribute to cutting-edge research into the ecological and social dynamics that unfolded on Thomas Jefferson’s Monticello Plantation in the eighteenth and early nineteenth centuries. Technical topics covered include survey and excavation strategies as well as the analytical possibilities for ceramics, faunal remains, plant phytoliths and pollen, deposits and the sediments they contain, soils, and spatial distributions of artifacts across sites and larger landscapes.

Guest lecturers are drawn from a variety of disciplines including archaeology, geology, ecology, paleoethnobotany, zooarchaeology, and history. On-site instruction, lectures, and discussion sessions at Monticello will be complemented by field trips to related sites. Students will attend classes forty hours per week, with the bulk of that time spent working in the field and the lab. Reading assignments, lectures, and discussion sessions will cover both technical and historical issues.

Our fieldwork addresses changing patterns of land use and settlement on Thomas Jefferson's, Monticello Plantation from c. 1750 to 1860, along with their ecological and social causes and consequences. Toward the end of the 18th century, spurred by shifts in the Atlantic economy, Thomas Jefferson and planters across the Chesapeake region replaced tobacco cultivation with a more diversified agricultural regime, based around wheat.

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WOLFGANG AMADEUS MOZART

"When I am, as it were, completely myself, entirely alone and of good cheer – say travelling in a carriage or walking after a good meal, or during the night when I cannot sleep – it is on such occasions that my ideas flow best and most abundantly. Whence, and how, they come I know not ; nor can I force them. Those ideas that please me I retain in memory and am accustomed, as I have been told, to hum them to myself. If I continue in this way, it soon occurs to me how I may turn this dainty morsel to account, so as to make a good dish of it. That is to say, agreeable to the rules of counterpoint, to the peculiarities of various instruments etc. All this fires my soul, and, provided I am not disturbed, my subject enlarges itself, becomes methodised, and defined, and the whole, though it be long, stands almost complete and finished in my mind, so that I can survey it like a fine picture or a beautiful statue at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once. What a delight this is, I cannot tell."

MARCUS AURELIUS

"Is your cucumber bitter? Throw it away. Are there briars in your path? Turn aside. That is enough. Do not go on and say, 'Why were things of this sort ever brought into this world?' neither intolerable nor everlasting - if thou bearest in mind that it has its limits, and if thou addest nothing to it in imagination. Pain is either an evil to the body (then let the body say what it thinks of it!)-or to the soul. But it is in the power of the soul to maintain its own serenity and tranquility."

VINCENT van GOGH

"What am I in the eyes of most people? A nonentity or an oddity or a disagreeable person — someone who has and will have no position in society, in short a little lower than the lowest. Very well — assuming that everything is indeed like that, then through my work I’d like to show what there is in the heart of such an oddity, such a nobody. This is my ambition, which is based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Even though I’m often in a mess, inside me there’s still a calm, pure harmony and music. In the poorest little house, in the filthiest corner, I see paintings or drawings. And my mind turns in that direction as if with an irresistible urge. As time passes, other things are increasingly excluded, and the more they are the faster my eyes see the picturesque. Art demands persistent work, work in spite of everything, and unceasing observation."

DAN CAMPBELL