Experimental crop growing in Jordan to develop methodology for the identification of ancient crop irrigation

Crop irrigation has long been recognized as having been important for the evolution of social complexity in several parts of the world. Structural evidence for water management, as in the form of wells, ditches and dams, is often difficult to interpret and may be a poor indicator of past irrigation that may have had no need for such constructions. It would be of considerable value, therefore, to be able to infer past irrigation directly from archaeo-botanical remains, and especially the type of archaeo-botanical remains that are relatively abundant in the archaeological record, such as phytoliths. Building on the pioneering work of Rosen and Wiener (1994), this paper describes a crop-growing experiment designed to explore the impact of irrigation on the formation of phytoliths within cereals. If it can be shown that a systemic and consistent relationship exists between phytolith size, structure and the intensity of irrigation, and if various taphonomic and palaeoenvironmental processes can be controlled for, then the presence of past irrigation can feasibly be inferred from the phytoliths recovered from the archaeological record.

Ancient lakes of the Sahara

As a result of climate change over the past 5000 years the Sahara changed from savannah to a desert landscape. The beds of ancient lakes are home to snail shells and the petrified roots of trees and shrubs. Examples of human occupation can also be seen in the form of fireplaces and discarded tools. Examination of the geological history of these sites can give a clearer picture of how the climate changed and how humans coped with these changes.

The Dark Monarch: magic and modernity in British art

This major curated exhibition, publication and events builds on Rowlands’ curatorial research. Working in collaboration with co-curators Martin Clark, Artistic Director, Tate St Ives and Michael Bracewell, cultural historian, the exhibition sought to explore new narratives within British art. The innovative curatorial methodology developed from a fiction found in the infamous novel, The Dark Monarch by Sven Berlin, Gallery Press 1962. The research sought specific archival and collection work that allowed thematic strands to emerge that represented influences across generations. The exhibition features two-hundred artworks, from the Tate Collection, archives and other significant British public and private collections. It examines the development of early Modernism, in the UK, as well as the reappearance of esoteric and arcane references in a significant strand of contemporary art practice. Historical works from Samuel Palmer, Graham Sutherland, Henry Moore and Paul Nash are shown alongside contemporary artists including Derek Jarman, Cerith Wyn Evans, Eva Rothschild, Linder and John Russell. The exhibition includes a key work by Damien Hirst ¬ the first time he has been shown at Tate St Ives and a number of contemporary commissions. The Dark Monarch publication extended the discourse of the research critically examining the tension between progressive modernity and romantic knowledge, the book focuses on the way that artworks are encoded with various histories - geological, mythical and magical. Essays examine magic as a counterpoint to modernity’s transparency and rational progress, but also draw out the links modernity has with notions such as fetishism, mana, totem, and the taboo. Often viewed as counter to Modernism, this collection of essays suggest that these products of illusion and delusion in fact belong to modernity. Drawing together 15 different writers commissioned to explore magic as a counterpoint of liberal understanding of modernity, drawing out links that modernity has with notions of fetish, taboo and occult philosophy. Including essays by Marina Warner, Ilsa Colsell, Philip Hoare, Chris Stephens, Jennifer Higgie and Morrissey.

The symbolic value of grafting in ancient Rome

Some scholars have read Virgil’s grafted tree (G. 2.78–82) as a sinister image, symptomatic of man’s perversion of nature. However, when it is placed within the long tradition of Roman accounts of grafting (in both prose and verse), it seems to reinforce a consistently positive view of the technique, its results, and its possibilities. Virgil’s treatment does represent a significant change from Republican to Imperial literature, whereby grafting went from mundane reality to utopian fantasy. This is reflected in responses to Virgil from Ovid, Columella, Calpurnius, Pliny the Elder, and Palladius (with Republican context from Cato, Varro, and Lucretius), and even in the postclassical transformation of Virgil’s biography into a magical folktale.