This article reflects on how archaeology globally has been sculpted by its social and political uses and how archaeology it self has shaped the various worlds in which it is situated. The thematic areas that are analysed are decolonising archaeology; community and engaged archaeology; archaeology for social justice; archaeology of the contemporary past; film, television and serious games; the internet and social media; and monuments as commemoration and heritage erasure. Drawing these analyses together, this paper offers a new definition of contemporary archaeology as ‘the study of human behaviour, past and present, through the analysis of material culture, both real and virtual,as situated within cultural landscapes’.

The Social and Political Sculpting of Archaeology (and Vice Versa)

The basic concern of this article is to offer an interpretation of artworks by a selected group of artists who contributed to the “Creative creatures” project. The original creatures created by the artist, Ian Marley, based on narration by his son, Joshua, seem at first glance to suggest an underlying theme of fantasy. However, certain interpretative artworks by artists such as those by Diane Victor, Flip Hattingh and Angus Taylor seem to display a shift from the originally perceived element of fantasy. The artworks rather each represents their own fictional worlds, far removed from the original composite creatures created by Marley who each seems to function in its own fictional world. The superimposition of the incongruous worlds suggests a measure of tension that hinges on progressive notions of archaeology, history and possible worlds.

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Possible worlds: a reading of three artworks from the Creative creatures exhibition

Nicolas Pittarello argues that while LNG Would increase security of supply in the UK by reducing the risk of disruption, long lead times for LNG projects mean that they may not be in place in time if the 'Mexican stand-off' continues.

Nicolas Pittarello

Papers

All smoke and mirrors