About Me, Vergil “Alex H” Nguyen

Picture of a Bird I took in Hawaii. I don’t know what kind. I was at a biogarden or something on Oahu.

Hello, I am an Archaeological Science major at University of Washington. I first discovered my love of archaeology through my love of treasure and that I aced the introductory class in community college. Regions and histories I’m particularly interested in are ancient Greece and Rome. I’m particularly fascinated by military histories and Empires. Possibly as a romance of my youth, imagining myself traveling the world in some sweet armor. I could just get lost in the slightly sandy and yellow aesthetic with the white architecture and red accents of what I imagine Rome to be. I was deeply horrified when it came to light the Greek statues were actually painted bright colors. With that in mind I probably should’ve majored in Classics instead but too late now, graduating by Spring is more important.

Besides Archaeology and countless years of my life on playing video games, I like to spend my time watching cinema and art films. I’m trying to work on my film snobbery. So far most of what I’ve watched are the works of Akira Kurosawa such as Ran and Kagemusha. Currently, I’m conditioning myself to express distaste for superhero movies. This interest in film stems from my love of anime movies like Akira and Princess Mononoke.

Vergil Nguyen sounds like a person I would know but I don’t actually know any.

About Me – Lizzy

Hello everyone! I go by Lizzy and I am a first year graduate student in the Archaeology program here at UW. I wandered around the national parks for about five years before grad school, working with curators, archivists, and archaeologists to make park collections more accessible to the public. Side note: almost every national park has a significant museum and archives collection –– go enjoy them!

At UW, I want to work with communities in the Alaskan and Canadian Arctic to explore cultural and natural resource management in the face of a rapidly changing environment. Guided by my UW mentors and the decolonizing methodologies of Amy Lonetree and Linda Tuhiwai Smith, I am here to learn ethical modes of academic research and professional practice before I wander back out and help decolonize curation in the national parks. Until then, hello! #findyourpark #resistcuration #decolonizeordie

 

 

About Me- Alec

A totally not staged photo of taking levels…

For a first blog post, I think it makes sense to talk about what I know best- myself. I am a first year graduate student at the University of Washington, having just moved to Seattle from Buffalo where I was in the Master’s program at the University at Buffalo. I have been interested in archaeology since I was a small child, so younger me would be thrilled to find out that I’ve participated in excavations in Portugal, Spain and France as well as throughout Western New York as a member of the UB Archaeological Survey team. I am currently interested in Western Mediterranean archaeology of the first Iron Age.

Outside of archaeology, I am a huge Buffalo fan. This goes for our sports teams (go Bills, Sabres and Bisons!) as well as the city itself. We don’t have wildfires, hurricanes, earthquakes, tornadoes, tsunamis, mudslides, avalanches, volcanic eruptions or other major natural disasters. Sure, it snows, but with the invention of the snowplow and salted roads, you hardly ever think about it. They say people who move to Buffalo cry twice; once when they find out they have to move to Buffalo, and once when they find out they have to move away.

 

Issues in Photography

Throughout my time in the Pacific Northwest Archaeology Lab I have engaged in several small projects.  I started working with ceramics and glass, and have switched my focus into working on the photography of belongings recovered through Field Methods in Indigenous Archaeology. We do photography in the lab because it is important to create a digital record of the belongings we are analyzing. Artifact Photography allows for us to create a visual database that can assist our analysis, as well as enable others to access the belongings and learn from them.

The photo that I chose is of one of my favorite artifacts, it is a plastic bead excavated from the the Grand Ronde School privy.  This picture was the first time I had photographed a three dimensional object where the depth of field was not an issue.  I really appreciate the edges of the artifact in the photo.  Artifact Photography has a very common issue with depth of field.  There are a few very prominent issues in photography one of those being depth of field and another being light reflection when photographing objects such as glass.

Depth of field was the most prominent issue when I first began photography, it made it almost impossible to shoot artifacts fully in focus, as larger items often result in blurring of certain areas of the photo. To resolve this issue, I used Photoshop to merge a series of pictures so as to eliminate the blur.  Photoshop stacking is where you take a series of photos of the same artifact and stack them on top of each other, using the program to extract areas in focus in each image and form a new image, thus solving the issue of depth of field.

The other major issue that I noticed when shooting the artifacts was light reflection making it so that you cannot see the artifact very well.  This mostly occurred when I was shooting glass and made it so that the actual glass was very difficult to see in the picture because the light made the glass shine and impossible to see.  I am excited to see what new skills I will learn in photography; what new challenges will show up, and how I will resolve them next quarter in the Pacific Northwest Archaeology Lab.

By: Zach Stewart

The Foods of Grande Ronde: Digital Documentation of Unidentified Seeds

sample seed – Unidentified spieces of wheat

Identifying seeds recovered from archaeology sites give us better understandings of the type of food that was available during the nineteenth and twentieth centuries. The seeds in my project are from a late nineteenth and early twentieth century settlement site on the Grand Ronde Reservation, which was the first habitation site on the reservation since removal. My project focuses on photographing unidentified seeds that were collected at the Grand Ronde reservation. I am using a Scalar digital microscope to capture photographs at 50x-100x magnification. The samples are placed into a petri dish filled with sugar. The sugar not only keeps the sample still but it also creates a white background. Tweezers and a paintbrush allow me to gently move the sample into different positions.

Several photographs are required because the microscopes cannot capture depth of field easily. Once the photos are taken they go through a stacking process in Adobe Photoshop to create a clear image with depth. Depth of field as described by Gray (2018) is, “…the closest and farthest objects in a photo that appears acceptably sharp.” There is a gradual change in sharpness as adjustments are made to the lens of the microscope. This can be seen in the photographs below. Different parts of the seed are clearer than others because the lens of the microscope has been moved closer or farther away from the object.

 

Unidentified Species of Wheat: Creating an Archive 

When I started this project, I thought the photography process would be the most interesting aspect of my research. But instead I found myself excited to see the unique differences between the seeds and their varying characteristics. For example, the wheat sample you see pictured in this post. It has a wrinkled texture with small indentations filled with silt and a small dark bump towards the right tip. I would have never thought these physical attributes existed had I not used the Scalar microscope to photograph several angles of the sample. These varied characteristics are very important for the identification process. Experts will examine these characteristics to properly identify the family, genus, and species of that sample. There are so many options when it comes to plant identification that it is very important to capture clear images that accurately display these physical attributes. Identifying these samples will give us a better understanding of reservation diets and locally available resources. As well as identify plants that may have been indigenous or imported to the area.

Works Cited
Gray, Elizabeth
2018 Understanding Depth of Field – A Beginner’s Guide. Photography Life. Electronic document, photographylife.com/what-is-depth-of-field, accessed March 2018.

 

By: Paloma Sanchez

It’s a Bird! It’s a Plane! It’s a Comic Book!: Exploring Popular Culture at Grand Ronde

Working in the Pacific Northwest Archaeology Lab, the last thing I expected was to become familiar with the world of comic books. Growing up I was always fascinated by superhero movies, and when a piece of a comic book showed up during the cleaning process, I jumped at the chance to work more closely with this artifact. Finding paper and other materials that do not preserve well via archaeological excavation is rare. The prospect of working to both extract information from, as well as conserve this fragment of popular culture has been such an incredible opportunity.

As we began to look at the piece more closely, we came to see just how strange it truly is. Initially, we thought it may be a piece of a newspaper, as the paper was of poor qualityand thin with many of the pages stuck together. upon further inspection, and much to our surprise, buried within the layers of paper-a face emerged. The red cape, strong jawline, and confident gaze led us to quickly theorize that we were looking at some sort of superhero, but which one? The red cape seemed to echo a Superman aesthetic, but we couldn’t be sure. Being that that we were without a “comic book expert”, we turned to an unexpected source: Facebook.

Quickly after revealing this mystery face, I began posting on several Comic Book Historian community sites within Facebook, asking for help identifying this character. Within minutes, there were dozens of comments, many even suggesting Flash Gordon as another contender, though Superman is still my personal favorite! Using social media to obtain a further understanding about this artifact was something that had never occurred to me, but for this instance proved to be really helpful.

This is the face that we we able to find within the layers of the piece. We are still unsure as to the identity of the character depicted.

We hope to gain a better understanding of the comic book subject, historical comic book publications, and a images of popular culture at this time.   we do not yet know exactly what kinds of popular culture  the students attending the Residential School would have had access to. Using a rough timeline of the site, combined with a more formal artistic analysis of the fragments, we have been able to tentatively hone in on a date range, placing our piece between the 1930s and 50s. Looking to the future, we hope to be able to pull apart these layers, potentially revealing even more text or a trademark in the next steps of our research.

Though we aren’t able to discern what the text is saying due to fragmentation, the font style and Ben-Day dots on the side provide helpful clues to the dating of this piece.

It’s incredible how much we are continuing to learn about this piece every day. Recently, after working with the Conservation Lab here on campus, we were able to see even more pigment and small designs that we hadn’t noticed before. What I’ve loved most about working on this artifact is how interdisciplinary it has been We have utilized so many different sources to gain a better understanding of what we have and our long term goals include identifying the mysterious face, learning more about what sort of publication this artifact is apart of, and being able to make inferences about the impact that these comics and media had on those living at the Residential School. Until then, we will continue to enjoy taking bets on who our mysterious hero is!

By: Sophie Muro

Be Our Guest: A Contemplation on a Piece from a Child’s Tea Set

Since beginning my learning experiences in this lab, my interest in specific types of artifacts has grown stronger and more focused. Although I was and still am fascinated by everything recovered from the Grande Ronde schoolhouse, I was always drawn to the ceramics that were found, the most compelling of which is a small, hand painted tea set creamer.

I felt attached to this creamer, despite the fact that it had no part in my life before a few months ago. This led me to wonder what caused people to be interested in specific artifacts, as well as why people form attachments to objects  from generations before them. In the context of this artifact, there is a certain familiarity of it, as it is a recognizable object which is almost complete. When juxtaposed with other smaller, less identifiable pieces, this piece stands out and becomes memorable and exciting.

Based on the size of this piece, it appears to be from a child’s tea set. This direct association with children and childhood sparks a feeling of nostalgia for tea sets in my own past, despite the fact that I had never interacted with or even seen this particular creamer prior to working with it in the lab. In archaeology and more generally in everyday life, people tend to be drawn to things that remind them of objects that are familiar to them, such as specific toys that they played with as children or certain scents that are reminiscent of family members or places. My own childhood tea set had a lot of positive memories linked to it, which resurfaced when looking at this one. I expect the same can occur for many other people as well.

While I had an imagined connection to this object, there were likely people in the past who had a connection to it when it was new. A large part of archaeology is evaluating the bonds that people made with their surroundings and belongings to discover what their lives were like. In the lab, the context was changed for how people viewed and interacted with the creamer, but the response remained the same. This showed me an important lesson about the nature of humans, both in the present and in the past, and how we view the objects we encounter throughout our lives. This lesson has taught me to view other artifacts in the same way I viewed this one, as vibrant pieces of a life from long ago. As corny as it sounds, I feel that it was a valuable part of my experience in learning about archaeology.

By: Bay Loovis

Conserving the Paper Remains of Pop Culture from the Grand Ronde school

We have been working as a group with a portion of a comic book recovered at the Grand Ronde schoolhouse site.  The comic book is in several pieces and is in need of a conservation plan to learn more about the comic. The content of the comic book is currently difficult to determine. It is worn, torn, disintegrating around all edges, covered in dried mud, and several pages are bonded together from years of being compressed by dirt and moisture. To answer our research questions cleaning and separating the pages is a must. Over the Winter quarter we have been investigating the kind of pop culture that the children of Grand Ronde school may have been exposed to.

We have carefully pulled back some of the edges and have observed a face (perhaps a superhero?), a pair of hands, other bits of undetermined illustration, and various fonts of typing throughout the pages. These aspects have led us to believe this could be from a newspaper, but there is still much to learn about the object.

In the early stages of this project we had full intent to learn and apply methods of cleaning and preservation to the object ourselves—this would have been done through video observation, written resources, and websites devoted to such. We even tried one test, a process of humidification which reintroduces some moisture into the fibers on a small test sample of the comic. We found that this elementary test caused the color of the ink to fade, and the amount of moisture was not sufficient to separate the pages.

However, we did find that the UW campus library has a conservation lab! Since then we have had a few meetings with conservation specialist Claire Kenny. Her knowledge, advice and involvement in the conservation of this piece has been a crucial element. She has provided us with many insights, and is currently working with the object. This project is still underway. Please stay tuned for more updates and reviews in the future!

Photos of comic book taken with a digital microscope camera

 

By: Danielle Sakowski

We are not done yet! (Lab work–barney’s leadership project)

Students getting prepared for the field school—-buying excavation tools, getting camping gears, and saying goodbye to family and civilized world; going to the field and doing field works; and then going back home; are they done with it then? No, at least not for me, there are lab works to do.

Part zero/(literal heavy-lifting )

Artifacts and equipments will not go into places by themselves since they usually don’t have legs or wings so it has to be people to carry them up to wherever they are supposed to go. It is supposed to be simple work which might just take a little bit of time, only if everything went swimmingly. Of course an unfunctional keycard definitely does not fit in the category “swimmingly” and because of that we had to call UWPD for help, to help us get into our own department building. So, with the help of one UWPD officer, cart from fourth floor(since the elevator was broken we had to carry it up and down stairs), and our own hands, we successfully finished all the moving process within one and half hour. Finally, equipments and miscellaneous went to the storage and the artifacts were in the lab.

Part one/(cleaning the room)

Before we get our hands on those precious artifacts, these is still a lot to do, actually the work took a whole day: cleaning up the lab room and rearrange the cabinet. To put collections from the first two field school-yes, these ones need to be done as well-away to make space for FMIA 2017 artifacts, we first checked all the old drawers to see if there is anything problematic: mislocated, mislabeled or can’t even be sourced (isolated from nowhere). Fortunately, there is no artifact that we can not find in the database (if so it will be extremely hard for Ian and Yoli to try to track it down). Then we relabeled  all the “new drawers” that we rearranged, for FMIA 2015, 2016, and 2017 artifacts. In the drawers, we put all these artifact bags in order as well. And in the end, just to make it look better, we also separated used/blank bag slips and labeled them as well. After that things got nice and easy: cleaning up the room, washing up bins, trays, and plates to be ready for the future works, and making the room tidy, which is not for the artifacts’ sake, but for the people who will work here.

Part two/(washing artifacts)

Only cleaning up the lab room is not enough-lab people don’t usually have mysophobia-i am saying that we need to clean the artifacts and put them into categories(it might not be necessary to do at this step but it will make people’s life easier for sure). It is very interesting that washing reveals how “careless” sometimes people in the field can be, by figuring out that something in the bag that we thought were artifacts are actually good for nothing-natural rocks, twigs, or even just dirt(to be fair, sometimes a chunk of dirt with high percentage of clay could look very alike something worth picking up-but it really isn’t, since it melts in water!). Not everything we can wash in water though, things like wood/charcoal; tiny pieces of unknown material; twines/fibers; and anything that is too fragile to undergo regular washing, we could only use brush to dry clean. No matter which method we use it is always important to be gentle when we are doing it, because it is easier than people think to break an artifact that doesn’t look or feel brittle. One more thing needs to be mention is that when drying the artifacts they must be put on somewhere safe along with the plastic bags that they are taken out of-this helps the future steps-in order to make people’s life easier, like I said.

Part three/(organizing/cataloging)

After drying for a day, the artifacts that have been washed are finally ready to be touched(no, we are still not studying them, not yet). For this step, the ultimate goal is to put these artifacts back into the drawers-organized, classified, and in specific bags(in the same level bag they came from, that is why in the last step we are supposed to keep those plastic bags). In order to do that, there are several paper works that need to be mentioned: check out sheet (for us to check out each time we do anything to artifacts which could be to catalog and to wash), typology sheet (this one contains how many categories we divide one unit into, sometimes artifacts with the same material will be put into different groups), and a isolated sheet to keep record each step we did(this one needs the description of the artifacts). These sheets will go to different binders, there are also paperworks that go into the bags with the artifacts, like the new bag slips(annoying but yes, we have to redo it and throw the old ones away after we have the new one complete). Surprisingly, other than the extra paperwork, there is not really a difference than what we did in the field: put each category in its own plastic bag along with the bag slip; lable each bag as in the field and by the instruction(which could be found in lab), and put all the new bags in the same level bag that these artifacts came from. And don’t forget to put the name on as cataloger.

Part five/(future plans/works)

Something this blog post can not really emphasize is how time-consuming the process I just mentioned could be. It really depends what the artifact is, how many stuff each level bag contains, and how “messy” the stuff we found in the field could be. FMIA 2017 units occupied at least two layers, which sounds not that bad but it took us almost a week to finish washing and cataloging only the surface collection units which is not even twenty percent of the artifacts(it could be that we only have four people working for that week). We have to be really careful and concentrate when we are doing this since it is really difficult to fix problems after we put things back into the drawer. People work in lab have to be patient and invest huge amount of time. Fortunately I learned how to be patient and also I at least have some time to put into lab work. To finish the process earlier so that we can finally “study” these artifacts after all and to make people’s life easier(like I’ve been saying all the time). I will return.

Telling Stories Digital Story 2017

Maps are only one tool out of many that can tell the story of a location. Coupled with oral histories, technological tools such as GPS, Total Station, GPR, photogrammetry, photography and older tools like paper maps, stratigraphic maps and sketch maps, one can learn about the history of a location. For my digital story I used ArcGIS application to create a digital story map that focused on the intersection between community engagement, maps and exploratory excavation can be used to build a fuller image of life at Grand Ronde.

http://www.arcgis.com/apps/MapJournal/index.html?appid=fb02777e3baa4279bb119e8c2697ccf0