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Climate change? Archaeology and Anthropocene

Published online by Cambridge University Press:  08 December 2017

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Abstract

As we pass into an age of the Anthropocene, archaeologists, as scholars of other disciplines, are driven to consider how this physical and ideological climate change affects our craft, or how archaeology can contribute with knowledge and insight of significance in a shifting world. Basing its arguments on research conducted on marine debris and drift beaches in northern Norway and Iceland, the aim of this article is to imagine what kind of alternative ways of doing and thinking archaeology the current climate is calling for. With reference to this material, which conspicuously manifests both obstacles and promises for an ‘Anthropocene archaeology’, the article will question the worth of some perspectives traditionally considered essential to our discipline, while simultaneously building on confidence in a sincerely archaeological imagination.

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Articles
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Copyright © Cambridge University Press 2017 
Figure 0

Figure 1Cleared section in beach compound in Eidsbukta, Finnmark, Norway. Photo: Þóra Pétursdóttir.

Figure 1

Figure 2Pole photographs of drift-matter assemblages in main wrack zone, Eidsbukta. Photo: Þóra Pétursdóttir.

Figure 2

Figure 3Entangled drift matter in the main wrack zone of Eidsbukta. Photo: Þóra Pétursdóttir.

Figure 3

Figure 4Drone photo of Eidsbukta with the fossil shorelines extending inland. Both wrack zone and transit zone are clearly visible. Photo: Ingar Figenschau.

Figure 4

Figure 5Drift matter in Eidsbukta: driftwood, worked wood, pallets, plastic bottles and containers, fishing gear, seaweed, childrens’ toys, steel, rope, boots, rocks and pebbles. Photo: Þóra Pétursdóttir.

Figure 5

Figure 6Tumbled and entangled beach compound, Eidsbukta. Photo: Þóra Pétursdóttir.

Figure 6

Figure 7Belts and ripples of drift matter, Eidsbukta. Photo: Þóra Pétursdóttir.

Figure 7

Figure 8The transit zone: plastic, wood, kelp and more. The main wrack zone is visible on the ridge to the left. Photo: Þóra Pétursdóttir.