By John C. Whittaker
Making arrowheads, blades, and different stone instruments was a survival ability and remains to be a craft practiced by way of millions of flintknappers all over the world. within the usa, knappers assemble at local "knap-ins" to socialise, trade rules and fabric, purchase and promote either apparatus and knapped paintings, and make stone instruments within the corporation of others. In among those gatherings, the knapping neighborhood remains hooked up via newsletters and the Internet.
In this publication, avid knapper anthropologist John Whittaker bargains an insider's view of the knapping group. He explores why stone instruments allure sleek humans and what making them ability to those that pursue this artwork. He describes how new contributors are included into the knapping neighborhood, how rookies examine the innovations of knapping and locate their roles in the workforce, how the group is based, and the way ethics, principles, and ideology approximately knapping are constructed and transmitted. He additionally explains how the perform of knapping pertains to expert archaeology, the alternate in smooth replicas of stone instruments, and the forgery of artifacts. Whittaker's ebook hence records a desirable way of life of yank lifestyles and introduces the broader public to an historic and nonetheless worthwhile craft.
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Additional info for American Flintknappers. Stone Age Art in the Age of Computers
He particularly dislikes copper billets, and feels that a true — — A F “master” knapper can only work with traditional gear. “If it wasn’t done in the past, it’s not traditional. Traditionalism is not just a fad; it’s something we believe in, a way of life. It is not a search for the easy way out, a search for more efficient tools and clever tricks. Traditionalism is a commitment to preserving traditions of value; for it is by means of traditions that value systems are passed on.
When I was a young anthropology student at Cornell University, poking around in the old books in the library, I came across his Antiquités — — A F Celtiques et Antédiluviennes (Celtic and Pre-Flood Antiquities, ). I opened this pioneering work with awe, and was horrified to see that alongside handaxes and fossils he had published things that even I could see at a glance were rubbish. It was probably a good lesson. In the s the English scholar Sir John Lubbock, writing his bestseller Pre-Historic Times (, ), felt it necessary to explain the differences between weathered ancient flints and fresh forgeries.
Ishi’s points. Photo of Lithic Casting Lab casts of points from Charlie Shewey’s collection. Center point is cast to look like obsidian but was actually glass. Photo by Sarah DeLong. Tussinger began selling his “finds” to local dealers and collectors. According to Ellis, “The first specimens sold were small, relatively simple, and all made from local material from the Peoria, Oklahoma, quarries. . Later points were larger, more complex, and of a wide variety of flint” (, ). Tussinger’s prices also climbed from as little as twenty-five cents to as much as fifty dollars, a considerable sum in those days.
American Flintknappers. Stone Age Art in the Age of Computers by John C. Whittaker