Inside the hands-on lab of an experimental archaeologist


Inside the hands-on lab of an experimental archaeologist

Back in 2019, we told you about an intriguing experiment to test a famous anthropological legend about an elderly Inuit man in the 1950s who fashioned a knife out of his own frozen feces. He used it to kill and skin a dog, using its rib cage as a makeshift sled to venture off into the Arctic. Metin Eren, an archaeologist at Kent State University, fashioned rudimentary blades out of his own frozen feces to test whether they could cut through pig hide, muscle, and tendon.

Sadly for the legend, the blades failed every test, but the study was colorful enough to snag Eren an Ig Nobel Prize the following year. And it's just one of the many fascinating projects routinely undertaken in his Experimental Archaeology Laboratory, where he and his team try to reverse-engineer all manner of ancient technologies, whether they involve stone tools, ceramics, metal, butchery, textiles, and so forth.

Eren's lab is quite prolific, publishing 15 to 20 papers a year. "The only thing we're limited by is time," he said. Many have colorful or quirky elements and hence tend to garner media attention, but Eren emphasizes that what he does is very much serious science, not entertainment. "I think sometimes people look at experimental archaeology and think it's no different from LARPing," Eren told Ars. "I have nothing against LARPers, but it's very different. It's not playtime. It's hardcore science. Me making a stone tool is no different than a chemist pouring chemicals into a beaker. But that act alone is not the experiment. It might be the flashiest bit, but that's not the experimental process."

It takes years to develop the practical hands-on skills required to do research in experimental archaeology, and this influences how Eren chooses his students. Eren himself is a master flint-knapper, deftly producing all manner of Stone Age blades from chert. One of his students was a musician who decided to study the pitches and octaves produced from the percussive aspects of flint-knapping.

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