Andy Needham
University of York, Archaeology, Faculty Member
- Archaeology, Palaeolithic Archaeology, Anthropology, Human Evolution, Emotion, Geoarchaeology, and 41 moreHuman-Animal Relations, Theory of Mind, Mesolithic Archaeology, Neanderthals (Palaeolithic Archaeology), Cognitive archaeology, Personhood, Palaeolithic venus figurines, Archaeological Method & Theory, Embodiment, Archaeological Theory, Paleolithic Europe, Upper Paleolithic, Extended Mind, Mesolithic Europe, Modern human origins, Paleolithic art, rock art, Ancient Emotions, Brain Plasticity, Use Wear Analysis, Ochre, Magdalenian, Middle Palaeolithic, Mesolithic/Epipalaeolithic Archaeology, Wetland Archaeology, Archaeology of Caves and Caverns (Archaeospeleology), Experimental Archaeology, Materiality, Emotions, Archaeology of Childhood, Palaeolithic Art, Animism, Cyborgs, Chaîne Opératoire, Social Cognition, 3D printing, 3d Modeling, Ice Age Cave Art, portable XRF (PXRF) in Archaeology and Museum Science, Microscopy, Rock Art, 3D- Scanning of Palaeolithic Art, and Rock Art (Archaeology)edit
This thesis asks a simple question: is there more to Palaeolithic art than meets the eye? The history of the study of Palaeolithic art reveals a fixation on the analysis of how art looks in its finished form. This thesis challenges this... more
This thesis asks a simple question: is there more to Palaeolithic art than meets the eye? The history of the study of Palaeolithic art reveals a fixation on the analysis of how art looks in its finished form. This thesis challenges this framework by exploring art from an object biography approach, augmented by a suite of new digital techniques, and through the exploration of non-western ontologies concerning humans, animals and objects. This approach is explored through application to a detailed case study: engraved stone plaquettes from the Magdalenian site of Montastruc, south-central France. The plaquettes are assessed not only based on their visual attributes, but how they were made, used and deposited, enhanced via the use of 3D models and microscopy. Emphasis is placed on trying to re-contextualise the collection, offering an analysis of all objects from the Peccadeau de l’Isle collection held in the British Museum, some 15,620 objects. These broad life phases are considered within a Magdalenian cosmology occupied by numerous agents beyond the bounds of humans alone. In the creation and use of art, this non-human agency is argued to be evident, playing an active role in the choices made by the artists working at Montastruc. The plaquettes are argued to be deeply social, made close to fire and by multiple artists of varying skill. The plaquettes had a distinct life history when compared to organic art objects found at the site, highlighting the nuance that can be revealed through an object biography perspective. The rich interpretations made possible by shifting the archaeological gaze to object biography, insights from non-western anthropology, and new high-resolution digital techniques are argued to represent a significant approach that can potentially be applied to other Palaeolithic art contexts and beyond.
Research Interests:
Unpublished Masters Thesis submitted for the degree of Early Prehistory, University of York, 2010. Palaeolithic ‘Venus’ figurines have received a relatively large amount of attention and have a broad range of interpretations attached to... more
Unpublished Masters Thesis submitted for the degree of Early Prehistory, University of York, 2010.
Palaeolithic ‘Venus’ figurines have received a relatively large amount of attention and have a broad range of interpretations attached to them. However, these interpretations are often generated through the same narrow channel, that their visual appearance is central to meaning and that Western personhood is an adequate model to use when dealing with ancient peoples. This leads to the interpretations being, in many respects, very similar, using the same modes of evidence to support their claims. This research challenges these approaches by generating new data beyond the visual in the ‘Venus’ figurine assemblage, focusing on the chaîne opératoire and life history of the figurines and linking this technical approach to a non-western personhood perspective. A case is made for the figurines being more than mere objects, instead a significant actor in socio-material networks, significant in the mediation of social relationships and charged with significance, evidenced through their varied usage in diverse and rich social settings.
Palaeolithic ‘Venus’ figurines have received a relatively large amount of attention and have a broad range of interpretations attached to them. However, these interpretations are often generated through the same narrow channel, that their visual appearance is central to meaning and that Western personhood is an adequate model to use when dealing with ancient peoples. This leads to the interpretations being, in many respects, very similar, using the same modes of evidence to support their claims. This research challenges these approaches by generating new data beyond the visual in the ‘Venus’ figurine assemblage, focusing on the chaîne opératoire and life history of the figurines and linking this technical approach to a non-western personhood perspective. A case is made for the figurines being more than mere objects, instead a significant actor in socio-material networks, significant in the mediation of social relationships and charged with significance, evidenced through their varied usage in diverse and rich social settings.
Research Interests:
Star Carr is an Early Mesolithic site located on the southern shore of Palaeolake Flixton, North Yorkshire, and is perhaps the most famous Mesolithic site in the UK. During Clark’s initial excavations, 1949-1951, 23 shale beads were... more
Star Carr is an Early Mesolithic site located on the southern shore of Palaeolake Flixton, North Yorkshire, and is perhaps the most famous Mesolithic site in the UK. During Clark’s initial excavations, 1949-1951, 23 shale beads were discovered (Clark 2009 [1954]), a number resistant to change despite several further phases on excavation at the site both in wetland and dryland contexts across the 1980s and 2000s. We present the first results of new analysis, detailing the actualistic experimental work results and microscopic analysis undertaken, using the data generated to contribute to the understanding of their production and life history. We further explore the relationship to the coastline of NE England this raw material infers. We contrast the Star Carr finds with the Early Mesolithic shale bead making workshop at the Nab Head, Pembrokeshire, Wales, where over 500 shale beads were discovered alongside heavily utilised meches de foret stone tools (Nash 2012). Drawing from the comparison of these assemblages within their specific contexts, we go on to make some tentative inferences about Early Mesolithic bead making and using strategies in the UK.
Flixton School House Farm (FSH) is a Mesolithic site located on the southern shore of Palaeolake Flixton, North Yorkshire, with evidence an early to late Mesolithic lithic assemblage and an extensive pit with associated ephemeral posts... more
Flixton School House Farm (FSH) is a Mesolithic site located on the southern shore of Palaeolake Flixton, North Yorkshire, with evidence an early to late Mesolithic lithic assemblage and an extensive pit with associated ephemeral posts (Taylor and Gray-Jones 2009). During the 2009 field season a red, mineral rich and roughly triangular pebble was discovered with c. 30 anthropogenic grooves across its surface. Preliminary microscopic analysis is presented, exploring the nature of raw material, mode of production of both the wear and striation and the possible uses of any residues resulting from their production. The object is considered within its site setting, as well as offering a new date for the site. We further explore the object within its local setting of Lake Flixton and how it relates to ochre finds from other nearby sites, notably Star Carr and seamer Carr, both displaying ochre working traces, though of a different kind, and its national context, where it is compared with other worked Mesolithic ochres from Stainton West and Musslebrugh. Taken together, inferences are made about the ochre working strategies within Mesolithic Britain and how they change at different sites and times.
The Late Upper Palaeolithic Magdalenian site of Montastruc, SW France, dating to c. 13,000 BP, is home to a rich corpus of mobiliary art, with 109 decorated organic pieces and 52 engraved stone plaquettes. Some of the organic objects from... more
The Late Upper Palaeolithic Magdalenian site of Montastruc, SW France, dating to c. 13,000 BP, is home to a rich corpus of mobiliary art, with 109 decorated organic pieces and 52 engraved stone plaquettes. Some of the organic objects from the site, notably the swimming reindeer, have been rightly identified as works of artistic genius and generally receive more research attention. By comparison, the engraved stone plaquettes are enigmatic and often receive limited attention, despite their prominence across the Magdalenian, likely due to the difficulty associated with interpreting what are often densely packed and superimposed designs. We here explore the use of 3D modelling as a tool in analysing these objects. Using a MechScan whitelight macro 3D scanner, high resolution scans of the plaquettes were created to facilitate design recognition, the analysis of phasing and line order, and to create digital proxies to simulate handling and varying light conditions and directions, and for use in presentation/dissemination. We conclude that 3D models can aid in analysis, presentation and dissemination of results. While never a replacement for engaging first hand with the collection, or indeed existing protocols for objects analysis, we suggest that the 3D models produced by this technology can be an effective means of engaging with more ephemeral forms of Palaeolithic art, encouraging parity in research efforts. 3D modeling technology should be seen as a promising tool that can be used alongside existing techniques rather than an out and out replacement.
Research Interests:
Research Interests:
Session Aim The overarching aim of the session is to bring together researchers of art in prehistoric archaeology, from any period, or using theories and methods that could be applied to prehistoric art, whether with a technical or... more
Session Aim
The overarching aim of the session is to bring together researchers of art in prehistoric archaeology, from any period, or using theories and methods that could be applied to prehistoric art, whether with a technical or theoretical focus, from within the discipline or beyond, to facilitate the sharing of recent research, thoughts, techniques, methods, and theories that contribute to engagement with and continuing research efforts in this field. While the session explores art directly, there is the inherent appreciation that art doesn’t make itself and papers will explore how art can be used as a window into the lives of those people who made and used it.
Session Scope
This session explores art in archaeology, both directly and as a window into other aspects of past lifeways. The session welcomes abstracts from researchers of any level of experience and both within and beyond archaeology. The session considers technical and methodological developments in the study of art (e.g. dating, 3D modeling, photogrammetry, p-xrf), as well as theoretical considerations (e.g. anthropological parallels, neurological perspectives, materiality, chaîne opératoire, multi-sensory approaches), and new finds. The temporal and geographical scope of the session is non-specific, with contributions welcome from any period of prehistory or geographical location.
The overarching aim of the session is to bring together researchers of art in prehistoric archaeology, from any period, or using theories and methods that could be applied to prehistoric art, whether with a technical or theoretical focus, from within the discipline or beyond, to facilitate the sharing of recent research, thoughts, techniques, methods, and theories that contribute to engagement with and continuing research efforts in this field. While the session explores art directly, there is the inherent appreciation that art doesn’t make itself and papers will explore how art can be used as a window into the lives of those people who made and used it.
Session Scope
This session explores art in archaeology, both directly and as a window into other aspects of past lifeways. The session welcomes abstracts from researchers of any level of experience and both within and beyond archaeology. The session considers technical and methodological developments in the study of art (e.g. dating, 3D modeling, photogrammetry, p-xrf), as well as theoretical considerations (e.g. anthropological parallels, neurological perspectives, materiality, chaîne opératoire, multi-sensory approaches), and new finds. The temporal and geographical scope of the session is non-specific, with contributions welcome from any period of prehistory or geographical location.
Research Interests:
Presented at TAG, S29: The Watchful World; Animate Environments in Hunter-Gatherer Archaeologies Abstract: The Late Upper Palaeolithic rockshelter of Montastruc, SW France, dating to c. 13,000 BP, is situated below a 29m high limestone... more
Presented at TAG, S29: The Watchful World; Animate Environments in Hunter-Gatherer Archaeologies
Abstract: The Late Upper Palaeolithic rockshelter of Montastruc, SW France, dating to c. 13,000 BP, is situated below a 29m high limestone cliff exposure, overlooking the river Aveyron, excavated by Peccadeau de L’isle in 1864 and again across 1866-67. The site is notable for its rich corpus of mobiliary art, with over 100 decorated organic pieces and 51 engraved stone plaquettes, now curated in the British museum after their purchase in 1887. The stone assemblage is almost entirely composed of weathered limestone blocks that detached from the rock face via natural freeze/thaw action. The organic assemblage is composed of a balance between bone and antler pieces, the former likely derived from animal kills and the latter likely derived from natural shed. The relations between humans, animals and objects are here explored through the art directly, notably the significance of naturalistic forms and a rare therianthropic form, but also through the raw materials themselves, the provenance of which is used to explore the concept of ‘gifting’, the significance of place, as well as animal and object agency. Finally, process and transformation are considered in relation to evidence for the burning and destruction of the stone plaquettes.
Abstract: The Late Upper Palaeolithic rockshelter of Montastruc, SW France, dating to c. 13,000 BP, is situated below a 29m high limestone cliff exposure, overlooking the river Aveyron, excavated by Peccadeau de L’isle in 1864 and again across 1866-67. The site is notable for its rich corpus of mobiliary art, with over 100 decorated organic pieces and 51 engraved stone plaquettes, now curated in the British museum after their purchase in 1887. The stone assemblage is almost entirely composed of weathered limestone blocks that detached from the rock face via natural freeze/thaw action. The organic assemblage is composed of a balance between bone and antler pieces, the former likely derived from animal kills and the latter likely derived from natural shed. The relations between humans, animals and objects are here explored through the art directly, notably the significance of naturalistic forms and a rare therianthropic form, but also through the raw materials themselves, the provenance of which is used to explore the concept of ‘gifting’, the significance of place, as well as animal and object agency. Finally, process and transformation are considered in relation to evidence for the burning and destruction of the stone plaquettes.
Research Interests:
We know a certain amount about the biology of ancient humans, but their feelings, emotions and what motivated their daily lives can be shrouded in mystery. Typically 'human' emotions such as compassion, a desire for fairness, spite or... more
We know a certain amount about the biology of ancient humans, but their feelings, emotions and what motivated their daily lives can be shrouded in mystery. Typically 'human' emotions such as compassion, a desire for fairness, spite or remorse appear to divide us from other animals yet must have appeared at some time in our evolutionary past. By looking at the expression of such 'human' emotions in our nearest primate relatives and considering the archaeological evidence for behaviours such as acts of compassion we can begin to suggest when and how our unique feelings evolved. Did Neanderthals fall in love? and if they did was it like our own feelings or, to misquote from Star Trek, would a better description be 'Its love, Jim, but not as we know it'.
'Venus' figurines are often considered as representations of people but here, using personhood as a source of inspiration to explore outside the confines of a Western world view, it is suggested that 'Venus' figurines can be interpreted... more
'Venus' figurines are often considered as representations of people but here, using personhood as a source of inspiration to explore outside the confines of a Western world view, it is suggested that 'Venus' figurines can be interpreted as persons in their own right. It is argued that moving away from what feels 'intuitively right' and beginning to explore alternate perspectives could yield interesting results and important advances. In addition to providing new insights into 'Venus' figurines, this is also a case study in how alternate world views detailed in anthropology more generally may act as inspiration for archaeological models, especially where material evidence is ambiguous, such as in the ritual/religious and social spheres.