Carl Knappett

This volume presents the pottery from a series of deposits excavated by Sir Arthur Evans in the palace at Knossos and assigned by him to the last part of the Middle Bronze Age or Middle Minoan III. The substantial architectural modifications seen in this period are examined along with stratigraphy to give proper context to the pottery deposits. Middle Minoan III was the time when Knossos appeared to expand its reach across Crete: from the First Palace Period, when palaces at Malia and Phaistos rivalled Knossos, to the Second Palace Period, when seemingly they diminished and other smaller palaces were built. These changes unfolded over the course of the Middle Minoan III period, divided by Evans into two sub-phases, MM IIIA and MM IIIB. He used many palatial deposits to define these phases. However, he did not present the pottery, stratigraphy and architecture in full, leading eventually to some ambiguity over the status of the period. This detailed study revisits more than a dozen of these contexts, to provide a more solid footing for the phasing and use of the Middle Minoan III palace. The investigation confirms that it is possible to distinguish not only between MM IIIA and MM IIIB, but also between early and late MM IIIA; this distinction enables a more nuanced understanding of the significant changes in architecture and material culture that were taking place. Furthermore, ceramic analysis highlights some of the functions of the palace at this time, with a plethora of conical cups and very few fine tablewares suggesting particular kinds of feasting; and a large number of imported transport and storage wares from off-island locales in the Aegean, such as the Cyclades, Dodecanese, and coastal Anatolia, pointing to a level of connectivity and exchange not previously recognised. This volume demonstrates that much new information can be extracted from legacy material excavated more than a century ago, through the use of a methodology that integrates ceramic, stratigraphic and architectural evidence.

How do we interpret ancient art created before written texts? Scholars usually put ancient art into conversation with ancient texts in order to interpret its meaning. But for earlier periods without texts, such as in the Bronze Age Aegean, this method is redundant. Using cutting-edge theory from art history, archaeology, and anthropology, Carl Knappett offers a new approach to this problem by identifying distinct actions - such as modelling, combining, and imprinting - whereby meaning is scaffolded through the materials themselves. By showing how these actions work in the context of specific bodies of material, Knappett brings to life the fascinating art of Minoan Crete and surrounding areas in novel ways. With a special focus on how creativity manifests itself in these processes, he makes an argument for not just how creativity emerges through specific material engagements but also why creativity might be especially valued at particular moments.

Think of a souvenir from a foreign trip, or an heirloom passed down the generations - distinctive individual artefacts allow us to think and act beyond the proximate, across both space and time. While this makes anecdotal sense, what does scholarship have to say about the role of artefacts in human thought? Surprisingly, material culture research tends also to focus on individual artefacts. But objects rarely stand independently from one another they are interconnected in complex constellations. This innovative volume asserts that it is such 'networks of objects' that instill objects with their power, enabling them to evoke distant times and places for both individuals and communities. Using archaeological case studies from the Bronze Age of Greece throughout, Knappett develops a long-term, archaeological angle on the development of object networks in human societies. He explores the benefits such networks create for human interaction across scales, and the challenges faced by ancient societies in balancing these benefits against their costs. In objectifying and controlling artefacts in networks, human communities can lose track of the recalcitrant pull that artefacts exercise. Materials do not always do as they are asked. We never fully understand all their aspects. This we grasp in our everyday, unconscious working in the phenomenal world, but overlook in our network thinking. And this failure to attend to things and give them their due can lead to societal 'disorientation'.

Think of a souvenir from a foreign trip, or an heirloom passed down the generations - distinctive individual artefacts allow us to think and act beyond the proximate, across both space and time. While this makes anecdotal sense, what does scholarship have to say about the role of artefacts in human thought? Surprisingly, material culture research tends also to focus on individual artefacts. But objects rarely stand independently from one another they are interconnected in complex constellations. This innovative volume asserts that it is such 'networks of objects' that instill objects with their power, enabling them to evoke distant times and places for both individuals and communities. Using archaeological case studies from the Bronze Age of Greece throughout, Knappett develops a long-term, archaeological angle on the development of object networks in human societies. He explores the benefits such networks create for human interaction across scales, and the challenges faced by ancient societies in balancing these benefits against their costs. In objectifying and controlling artefacts in networks, human communities can lose track of the recalcitrant pull that artefacts exercise. Materials do not always do as they are asked. We never fully understand all their aspects. This we grasp in our everyday, unconscious working in the phenomenal world, but overlook in our network thinking. And this failure to attend to things and give them their due can lead to societal 'disorientation'.

Material culture surrounds us and yet is habitually overlooked. So integral is it to our everyday lives that we take it for granted. This attitude has also afflicted the academic analysis of material culture, although this is now beginning to change, with material culture recently emerging as a topic in its own right within the social sciences. Carl Knappett seeks to contribute to this emergent field by adopting a wide-ranging interdisciplinary approach that is rooted in archaeology and integrates anthropology, sociology, art history, semiotics, psychology, and cognitive science. His thesis is that humans both act and think through material culture; ways of knowing and ways of doing are ingrained within even the most mundane of objects. This requires that we adopt a relational perspective on material artifacts and human agents, as a means of characterizing their complex interdependencies. In order to illustrate the networks of meaning that result, Knappett discusses examples ranging from prehistoric Aegean ceramics to Zande hunting nets and contemporary art. Thinking Through Material Culture argues that, although material culture forms the bedrock of archaeology, the discipline has barely begun to address how fundamental artifacts are to human cognition and perception. This idea of codependency among mind, action, and matter opens the way for a novel and dynamic approach to all of material culture, both past and present.