Prehistoric archaeologists cannot observe their human subjects nor can they directly access their subjects' ideas. Both must be inferred from the remnants of the material objects they made and used. In recent decades this incontrovertible fact has encouraged partisan approaches to the history and method of archaeology. An empirical discipline emphasizing data, classification, and chronology has given way to a behaviorist approach that interprets finds as products of ecologically adaptive strategies, and to a postmodern alternative that relies on an idealist, cultural-relativist epistemology based on belief and cultural traditions. In Artifacts and Ideas, Bruce G. Trigger challenges all partisan versions of recent developments in archaeology, while remaining committed to understanding the past from a social science perspective. Over 30 years, Trigger has addressed fundamental epistemological issues, and opposed the influence of narrow theoretical and ideological commitments on archaeological interpretation since the 1960s. Trigger encourages a relativistic understanding of archaeological interpretation. Yet as post-processual archaeology, influenced by postmodernism, became increasingly influential, Trigger countered nihilistic subjectivism by laying greater emphasis on how in the long run the constraints of evidence could be expected to produce a more comprehensive and objective understanding of the past. In recent years Trigger has argued that while all human behavior is culturally mediated, the capacity for such mediation has evolved as a flexible and highly efficient means by which humans adapt to a world that exists independently of their will. Trigger agrees that a complete understanding of what has shaped the archaeological record requires knowledge both of past beliefs and of human behavior. He knows also that one must understand humans as organisms with biologically grounded drives, emotions, and means of understanding. Likewise, even in the absence of data supplied in a linguistic format by texts and oral traditions, at least some of the more ecologically adaptive forms of human behavior and some general patterns of belief that display cross-cultural uniformity will be susceptible to archaeological analysis.Advocating a realist epistemology and a materialist ontology, Artifacts and Ideas offers an illuminating guide to the present state of the discipline as well as to how archaeology can best achieve its goals.

"Prehistoric archaeologists cannot observe their human subjects nor can they directly access their subjects' ideas. Both must be inferred from the remnants of the material objects they made and used. In recent decades this incontrovertible fact has encouraged partisan approaches to the history and method of archaeology. An empirical discipline emphasizing data, classification, and chronology has given way to a behaviorist approach that interprets finds as products of ecologically adaptive strategies, and to a postmodern alternative that relies on an idealist, cultural-relativist epistemology based on belief and cultural traditions.In Artifacts and Ideas, Bruce G. Trigger challenges all partisan versions of recent developments in archaeology, while remaining committed to understanding the past from a social science perspective. Over 30 years, Trigger has addressed fundamental epistemological issues, and opposed the influence of narrow theoretical and ideological commitments on archaeological interpretation since the 1960s. Trigger encourages a relativistic understanding of archaeological interpretation. Yet as post-processual archaeology, influenced by postmodernism, became increasingly influential, Trigger countered nihilistic subjectivism by laying greater emphasis on how in the long run the constraints of evidence could be expected to produce a more comprehensive and objective understanding of the past.In recent years Trigger has argued that while all human behavior is culturally mediated, the capacity for such mediation has evolved as a flexible and highly efficient means by which humans adapt to a world that exists independently of their will. Trigger agrees that a complete understanding of what has shaped the archaeological record requires knowledge both of past beliefs and of human behavior. He knows also that one must understand humans as organisms with biologically grounded drives, emotions, and means of understanding. Likewise, even in the absence of data supplied in a linguistic format by texts and oral traditions, at least some of the more ecologically adaptive forms of human behavior and some general patterns of belief that display cross-cultural uniformity will be susceptible to archaeological analysis.Advocating a realist epistemology and a materialist ontology, Artifacts and Ideas offers an illuminating guide to the present state of the discipline as well as to how archaeology can best achieve its goals."--Provided by publisher.

The perfect miscellany for every art lover - an essential and engaging collection of facts, figures, and findings about art, artists, and the art world, past and present This extraordinary compendium of compelling facts, figures, and findings gathers and distils obscure and fascinating information about art, artists, and the art world. Fun, surprising, and compelling, in this covetable book you will learn: - which artist's work is stolen most often (Picasso) - names of artists' pets: Fat Fat & Cous-Cous (Louise Nevelson's cats), Giotto and Goya (John Baldessari's dogs) - artist couples (Nancy Rubins and Chris Burden; Niki de Saint Phalle and Jean Tinguely; Dorothea Tanning and Max Ernst) - things artists collect: prosthetic arms and legs (Sophie Calle), glass eyes (Hiroshi Sugimoto) - odd jobs and side hustles: telephone marketer (Tomma Abts), crop duster (James Turrell) - artists who were rejected from art school (Francisco Goya, Auguste Rodin) ... and hundreds of other miscellaneous details. Thoughtfully and thoroughly researched, this intriguing book offers refreshing and surprising perspectives on the world of art. The five page-turning chapters cover: - Artists - Art School - Art Studio - Art Museum - Art World

Artifacts in organizations are ubiquitous but often overlooked. The chapters in this book illustrate that artifacts are everywhere in organizational life. They prevail in how offices are decorated, language is used, business cards are designed, and office cartoons are displayed. In addition, artifacts can be seen in the name of an organization and its employees, products, buildings, processes, and contracts, and they represent people, organizations, and professions. Artifacts and Organizations suggests that artifacts are neither superficial nor pertinent only to organizational culture. They are relevant to a rich and diverse set of organizational processes within and across multiple levels of analysis. Artifacts are shown to be integral to identity, sense-giving and sense-making processes, interpretation and negotiation, legitimacy, and branding. The book seeks to communicate that artifacts are often much more than what is currently recognized in organizational research. The four sections of this edited volume address various aspects of what is known about and known through artifacts. Together, the full set of chapters challenge the field to move beyond a narrow conceptualization and understanding of artifacts in organizations. This book leads students to embrace the full complexity and richness of artifacts. In addition, the text seeks to inspire those who focus on artifacts as symbols to delve deeper into the complexities of artifacts-in-use, for individuals, organizations, and institutions.

Four hundred pages of information and color photos of early American Colonial artifacts and how to find them. The best reference yet on colonial artifacts, including coins, buttons, bottles, buckles, household items, tools, and more!

What can we learn about nationalism by looking at a countryÕs cultural institutions? How do the history and culture of particular cities help explain how museums represent diversity? Artifacts and Allegiances takes us around the world to tell the compelling story of how museums today are making sense of immigration and globalization. Based on firsthand conversations with museum directors, curators, and policymakers; descriptions of current and future exhibitions; and inside stories about the famous paintings and iconic objects that define collections across the globe, this work provides a close-up view of how different kinds of institutions balance nationalism and cosmopolitanism. By comparing museums in Europe, the United States, Asia, and the Middle East, Peggy Levitt offers a fresh perspective on the role of the museum in shaping citizens. Taken together, these accounts tell the fascinating story of a sea change underway in the museum world at large.