*** Yesterday at Prof. Kerber's party I was talking with Carol Ann Lorenz, the former curator of the Longyear Museum. She was talking about the problems they've had with storing items in the collection. It all started when referred to the putty that the DeAngelos are using to prop up some objects while they photograph them as "Play-Doh." Prof. Lorenz was shocked. Apparently Play-Doh has oil in it that can leave a damaging residue on artefacts, so you need to use special Museum Putty.
The storage room seems nice and cool -- a low-stress environment for keeping things safe. But it isn't climate controlled, so humidity was making some paintings stick to the tissue that separated them. They had to spend hours sraping tissue off the paint. The cabinets that we keep the Oneida materials in are even worse. They're made from wood, which is Bad News in archival terms. Any organic material will give off resin, which in the long term will damage artefacts, even when they're kept in special acid-free boxes in the wooden drawers. What we need is steel cabinets.
It's strange the lengths we have to go through to preserve this stuff. And even with climate control and inert metal shelving and everything else, it still won't last forever. I was thinking of this as I sorted pot sherds yesterday. Whenever I'm going through the collection, my hands get dirty. I know part of it, particularly with stone items, is just dirt from the pit the things were dug out of. But when I look in the boxes of sherds, there is a residue of crumbly dirt in the bottom. I often dump it in the garbage, to keep things clean. I even throw out sherds below a certain size (a centimeter across or so) just so they don't confuse the count of unnumbered sherds. But I stopped to look at the dirt that had accumulated in the box I was using as a temporary home for items as I took them out of the drawer to check them off the inventory. There was a fair amount of it. The pot sherds are, for lack of a better word, eroding. Every time I touch them, every time I move the box that they're in, every time I bang the drawer against the posts of the cabinet because there's no real track for it to slide on, I hasten their breakdown. It's most noticeable with the Oneida pottery because it's a rougher form of pottery, more like grade school art class ware than the European ceramics that are sometimes mixed in in contact-period sites. But it must be happening to some degree to everything -- stone points, rusted gun parts, glass beads, and so on. Using it for anything damages it and makes it less useful to the next person.
It's a recurring dilemma in field archaeology. If you don't excavate a whole site, your conclusions aren't as complete. But the more you excavate, the less there is for the next person who comes along. And the next person might have more sophisticated techniques, or just different research questions, and an eye out for different types of evidence. When we visited Dungey, Prof. Kerber told me he was really hoping that Darryl Wonderley would be able to point us to a new section of the deposit that previous digs so that this summer's workshop didn't "use up" the site.
I suppose the problem is that archaeological data isn't reproduceable. Once an artefact is damaged, it's gone. You can't get it back. There's a similar problem with storing the digital photos -- any data format is susceptible to corruption. Prof. Kerber has had long conversations with guys from ITS about the stability of different brands of CDs. We have a little acid-free box to keep the CD backups in. But the thing is that the images aren't objects, they're just information. If something happens to one backup, you can copy the information from another one. We can make a thousand copies of the digital photograph. If we recopy onto fresh disks at intervals, we can theoretically preserve the information forever. But it doesn't work like that with artefacts. Even the best copy doesn't inculde everything -- which is the heart of the anti-repatriation argument. You have to keep an item around as long as you can, to milk as much information as possible from it. But you can't milk it too hard, or you'll destroy it. They weren't able to date the earliest human remains for a long time because the dating methods they had at first required such a large sample that we would have destroyed too much of the little surviving bone in order to get a reliable date.
The situiation is especially odd when you consider that the vast majority of the items we have -- particularly the contents of digs on local land, since our Mesoamerican and African collections consist mostly of whole statues and representative tools -- are junk. We have Oneida pottery in the Longyear museum, to preserve for future generations, because some Oneida way back when tried to throw it out.
posted by Stentor Danielson 12:38 AM |
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