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This article describes a path to addressing the discomfort that I and many of my braver colleagues have had, when putting words into the mouths and heads of prehistoric actors, knowing that these words say more about us than they do about prehistory. Yet without such speech, how are we archaeologists and the broader public to imagine the intangibles of the deep past (emotions, affect, gender, senses)? Moreover, such words create a misleading certainty that conceals the ambiguities of the archaeological data. Are there alternative options to verbal and vocal clarity when creating imagined fictive narratives about the past? With inspiration from composer Györgi Ligeti, from linguists and experimental psychologists, and from ASMR (Autonomous Sensory Meridian Response) performers, I explore the emotive power of vocal non-verbal interjections and utterances that have more universality and less cultural baggage, using them in three diverse re-mediations of digital media from three prehistoric archaeological contexts in Europe and Anatolia. Le chemin parcouru pour surmonter la gêne ressentie par moi-même et maints collègues plus courageux quand il s'agit de mettre des mots dans la bouche et la tête de personnages préhistoriques, sachant bien que ces mots en disent plus sur nous que sur la préhistoire, forme le sujet de cet article. Mais s'ils restent muets, comment les archéologues et le grand public peuvent-ils imaginer les aspects intangibles d'un passé très ancien (sentiments, émotions, genre, sens) ? En outre, ces mots créent un climat de certitude trompeuse qui masque les ambigüités des données archéologiques. Existe-t-il des alternatives aux paroles trop précises quand on tente d'imaginer des récits fictifs situés dans le passé ? En m'inspirant du compositeur Györgi Ligeti, des travaux de linguistes et de chercheurs en psychologie expérimentale, et de praticiens de l'ASMR (Réponse Automatique des Méridiens Sensoriels), j'examine ici le pouvoir émotionnel de la voix dans ses interjections et expressions non verbales de caractère plus universel et moins chargées de bagage culturel. Je présente ainsi trois essais de re-création numérique illustrant trois situations préhistoriques provenant de contextes archéologiques en Europe et en Anatolie. Translation by Madeleine Hummler In diesem Artikel beschreibe ich den Weg zur Überwindung der Unzufriedenheit, die ich und manche mutigere Kollegen empfinden, wenn es darum geht, Worte in den Mund oder Kopf von urgeschichtlichen Personen zu stecken, in dem Bewusstsein, dass diese Worte mehr über uns als über die Urgeschichte erkennen lassen. Aber wie können sich die Archäologen und die breite Öffentlichkeit die immateriellen Aspekte der tiefen Vergangenheit (wie Gefühle, Gemütsbewegungen, Geschlecht oder die Sinne) ohne Sprache vorstellen? Darüber hinaus geben solche Aussagen einen falschen Eindruck, der klarer als die unbestimmten Angaben der archäologischen Daten ist. Gibt es alternative Möglichkeiten, die sprachliche Äußerungen ausschließen und die es ermöglichen, fiktive Erzählungen über die Vergangenheit aufzubauen? Vom Komponisten Györgi Ligeti inspiriert und von den Arbeiten von Sprachwissenschaftler und experimenteller Psychologen sowie Praktikern der sogenannten Autonomous Sensory Meridian Response (ASMR) angeregt, untersuche ich die emotionale Kraft von nonverbalen Ausrufen und Äußerungen, die eher einen allgemeingültigen Charakter haben und weniger kulturell geprägt sind. Ich stelle hier drei verschiedene Versuche vor, die durch den Einsatz digitaler Medien entstanden sind und drei urgeschichtliche Situationen in Europa und Anatolien schildern. Translation by Madeleine Hummler

Through a discussion of the intentions behind two hypertext works, Ruth Tringham's Chimera Web and Rosemary Joyce's Sister Stories, we present an argument that the new digital media offer unique opportunities for feminist archaeology to realize some of its deepest values. Through the medium of hypermedia and hypertext (multilinear) narratives the complexities of the feminist practice of archaeology (including its multivocal interpretive process) can be grasped, enjoyed, and participated in by a non-archaeological audience more fluidly than in traditional linear texts. We draw attention to the way in which recent developments in digital technology, especially through the Internet, have transformed our ability to share freely the fruits of our creative thought with an ever-expanding audience.

There are narratives about history with beginnings and endings, and there are narratives with no beginning and no ending. Even as a ten-year old I was never happy with E. Nesbit’s philosophy of writing: “There are some things I must tell before I begin to tell about the treasure-seeking, because I have read books myself, and I know how beastly it is when a story begins, ‘Alas!’ said Hildegarde with a deep sigh, ‘we must look our last on this ancestral home’—and then some one else says something—and you don’t know for pages and pages where the home

Archaeology in the Making is a collection of bold statements about archaeology, its history, how it works, and why it is more important than ever. This book comprises conversations about archaeology among some of its notable contemporary figures. They delve deeply into the questions that have come to fascinate archaeologists over the last forty years or so, those that concern major events in human history such as the origins of agriculture and the state, and questions about the way archaeologists go about their work. Many of the conversations highlight quite intensely held personal insight into what motivates us to pursue archaeology; some may even be termed outrageous in the light they shed on the way archaeological institutions operate - excavation teams, professional associations, university departments.Archaeology in the Making is a unique document detailing the history of archaeology in second half of the 20th century to the present day through the words of some of its key proponents. It will be invaluable for anybody who wants to understand the theory and practice of this ever developing discipline.

Memory can be both a horrifying trauma and an empowering resource. From the Ancient Greeks to Nietzsche and Derrida, the dilemma about the relationship between history and memory has filled many pages, with one important question singled out: is the writing of history to memory a remedy or a poison? Recently, a growing interest in and preoccupation with the issue of memory, remembering and forgetting has resulted in a proliferation of published works, in various disciplines, that have memory as their focus. This trend, to which the present volume contributes, has started to occupy the dominant discourses of disciplines such as sociology, philosophy, history, anthropology and archaeology, and has also disseminated into the wider public discourse of society and culture today. Such a condition may perhaps echo the phenomenon of a melancholic experience at the turn of the millennium. Archaeology and Memory seeks to examine the diversity of mnemonic systems and their significance in different past contexts as well as the epistemological and ontological importance of archaeological practice and narratives in constituting the human historical condition. The twelve substantial contributions in this volume cover a diverse set of regional examples and focus on a range of prehistoric and classical case studies in Eurasian regional contexts as well as on the predicaments of memory in examples of the archaeologies of 'contemporary past'. From the Mesolithic and Neolithic burial chambers to the trenches of World War I and the role of materiality in international criminal courts, a number of contributors examine how people in the past have thought about their own pasts, while others reflect on our own present-day sensibilities in dealing with the material testimonies of recent history. Both kinds of papers offer wider theoretical reflections on materiality, archaeological methodologies and the ethical responsibilities of archaeological narration about the past.

This paper grew out of a conversation about memories; about remembering my first Mac; what a sharp memory and a powerful event it was; and how all the memories of using computers and their peripherals in the field since then explode in its wake with ever increasing complexity and speed until the digital media engulf and revolutionise our field experience and we can hardly remember a time when experience in the field was entirely non-digital. There are three threads of remembering and forgetting running in non-linear fashion through this paper: Firstly, my starting point from Susan Sontag’s (1977) and especially