01 May 2012

Occupy Academic Publishing

May 1 commemorates the men and women who fought and died for the 8-hour workday. One of the labor movement's explicit arguments for cutting working hours was to allow more time for people to pursue their own personal development. To a lot of people, that means reading about archaeology. But today, much of the best research is locked away from the public behind publishers' paywalls. This May Day, let's reflect on how academics can help end their complicity in a publishing system that denies publicly-funded research to everyone except the shrinking handful of universities in rich countries. In December I pointed out where the current model is taking us:
For-profit academic publishing is a suicide bombing mission against the academy. In pursuing their doomed business model, the big publishers risk turning the work we do as scholars into a giant echo chamber. Students take on a lifetime of debt, partly to pay for journal subscriptions that enrich a few corporations. Scholars are turned into serfs who must feed the beast new product for it to sell, or risk losing their already tenuous livelihoods. Institutions bankrupt themselves paying for ever more expensive journals without which they cannot compete.
Even Harvard University is buckling under the pressure. The faculty association and library have circulated memos demanding open-access publication, as the Guardian reports:
Robert Darnton, director of Harvard Library told the Guardian: "I hope that other universities will take similar action. We all face the same paradox. We faculty do the research, write the papers, referee papers by other researchers, serve on editorial boards, all of it for free … and then we buy back the results of our labour at outrageous prices.

According to the Harvard memo, journal subscriptions are now so high that to continue them "would seriously erode collection efforts in many other areas, already compromised". The memo asks faculty members to encourage their professional organisations to take control of scholarly publishing, and to consider submitting their work to open access journals and resigning from editorial boards of journals that are not open access.
I hope I don't need to point out that if Harvard University can't afford journal subscriptions, the system is badly broken. America's richest and most prestigious university library, unable to afford basic journals?

Though it's depressing that elite institutions have to be inconvenienced before anyone does anything about an obviously unjust system (imaging being a scholar in Africa!), momentum seems to be building to reform the system. The Federal Research Public Access Act, which would mandate that publicly-funded research be open access, is slowly making its way through the US Congress. The Academic Spring project is launching a mass boycott of Elsevier by scholars, and Britain's Wellcome Trust (the world's second-largest private funder of science) announced this month that all funded projects must be available to the public. (And kudos to the UK Guardian, which has been way out front in reporting on the growing movement).

Shockingly, some archaeology professional societies have been on the wrong side of the issue. The president of the Archaeological Institute of America, Elisabeth Bartman, came out against open access in a recent letter:
Here at the AIA, we particularly object to having such [an open access] scheme imposed on us from the outside when, in fact, during the AIA’s more than 130-year history, we have energetically supported the broad dissemination of knowledge, and do so through our extensive program of events and lectures for the general public and through our publications. Our mission statement explicitly says, “Believing that greater understanding of the past enhances our shared sense of humanity and enriches our existence, the AIA seeks to educate people of all ages about the significance of archaeological discovery.” We have long practiced “open access.” 
Beyond the obvious misunderstanding of what 'open access' is (the AIA's scholarly journal is not), Bartman shows off the paternalistic attitude that gives academics a bad name. Keep the serious research for 'serious scholars', while giving the public the 'lite' version of events and lectures, better suited for their little pea brains. Thankfully AIA presidents usually serve for very short terms. She certainly does not speak for members with this ill-informed drivel, as many eloquent responses in the archaeology blogosphere attest (like this one, this one, this one, and especially this one).

The foolishness and greed of the big academic publishers, however, give us the chance to correct one of academia's original sins. Bartman's condescension is typical of scholarly attitudes for the last few centuries: the public deserves only the table scraps of scholarship - a few lectures here and there performed as charity work - while the good stuff is kept behind the closed doors of laboratories or the paywalls of academic publishers. Frankly if the publishing situation wasn't hurting scholars at 'good' universities I'm not sure there would be any movement on opening scholarship to the larger public. But think about it. But as Sebastian Heath and Charles E. Jones note in their great response:
The general public has to pay [to read articles] and that reduces the impact that archaeology has on public discourse. Shouldn’t we be giving our best, most carefully produced work the greatest chance to be widely read? 
One thing that drives me crazy as an academic is feeling that my research is irrelevant. But much of that irrelevance is self-imposed: the public can't read our articles, even if they wanted to! The open access movement can help bring scholarship out the ghetto and toward the public.

The model of restricted academic publishing has been a stinking zombie for years, but is now starting to rot in earnest. As we all know, zombies need fresh brains to keep going. Elsevier, Springer, and their undead friends appear to have eaten their way through the whole population of the academic village. Here's hoping their immoral business model falls apart into a pile of stinking ooze ASAP. 


29 April 2012

Tomb of the McMummies

Tomb of the McMummies: an exhibit by artist Beneverywhere, featuring a life-sized mummy and other weird stuff made out of McDonalds food. (hat tip to Patrick Crowley for this one!)

Squid Ink at the LA Weekly interviewed him about the piece:
SI: Why McDonald's and not, say, In-N-Out?
BC: McDonald's is more iconic and has a rich lexicon of symbols, kind of like hieroglyphs in a way. It could really be about any fast food place. I personally doubt the food is much different from place to place.
SI: Can you describe the mummy construction process?
BC: The food was dried out first, then run through a blender, mixed with resin, packed into rubber molds that I made beforehand, and finally the cast pieces were bonded together with more of the mixture and cleaned up.
SI: Where does a person keep this sort of thing -- and what are you planning on doing with it exactly?
BC: Right now it's in storage covered with air hoses and other tools. For now I'm going to display it as part of a larger art show about McDonald's and Egypt. Eventually though, I'd like to find a buyer for it -- like Ripley's, Charlie Sheen, or somebody who might enjoy it.
Be careful, the mummy's got friends.
See more after the jump.

Lego Terracotta Army: in Chalk

A LEGO terracotta army somehow got buried in Sarasota, Florida. It was excavated in November by Dutch street artist Leon Keer.

Here's a couple 'making of' clips that explain the epic trompe l'œil. It's the latest part of the evolving mythos of mysterious giant Lego maker Ego Leonard. Check out how crazy it looks from any other angle!






26 April 2012

Drink Beer, Make Armor

break.com
WHOEVER THIS IS IS MY NEW HERO. HE GETS WHAT ARCHAEOPOP IS ALL ABOUT. IF YOU'RE NOT ON THE DIY BEER-CAN PULL-TAB CHAINMAIL BANDWAGON YET, THIS IS THE BEAUTY THAT AWAITS YOU.

AND THERE'S MORE!
via Geekologie

Photo Jay Adan
via Burntembers

AND LEST THE LADEEZ FEEL LEFT OUT...
via Crafty Mommy

GIANT INFLATABLE BOUNCY STONEHENGE


GLASGOW ARTIST CREATES GIANT BOUNCY STONEHENGE. KATIE HOSMER FROM MY MODERN MET REPORTS. I AM ALL CAPS ABOUT THIS!!!!!!!!!!!!! (via Dangerous Minds)
I’m sure that anywhere between 3,000 BC and 2,000 BC, the constructors of Stonehenge definitely didn’t envision it as a bouncy playground for adults and kids alike! This inflatable version of Stonehenge, entitled Sacrilege, is the vision of British artist Jeremy Deller. "It's something for people to interact with, it's a big public sculpture," says Deller. "It is also a way of interacting with history and archaeology and culture in a wider sense."
The installation, placed in Glasgow Green for the Glasgow International Festival of Visual Arts, is Deller’s first major public project in Scotland. The festival website explains, “Visual art happens all year round in Glasgow but for two weeks every two years, [the Festival] puts it firmly in the spotlight. From artists’ studios through to major museums, by way of a vast range of venues new and old, the Festival is the perfect moment to get to know more about contemporary art and how and where it takes place in Glasgow.”
It takes just minutes to deflate the bouncy Stonehenge every evening and re-inflate it every morning, just in time for participants to toss their shoes aside and climb onto the fun and playful public installation. Sacrilege will be at Glasgow Green for 18 days of the festival and then will be shipped off to ultimately arrive in London for the Olympic Games.
SATISFIED CUSTOMERS.

25 April 2012

More Crowdsourcing: Track Illicit Antiquities with Wikiloot

Crowdsourcing is going to play a big role in archaeology's future. This month I'm bringing you four projects that use it to harness the enthusiasm of ordinary people to fuel innovative research. 

WikiLoot is a project by Jason Felch, one of the authors of Chasing Aphrodite: the Hunt for Looted Antiquities at the World's Richest Museum. The idea is to "create an open source web platform, or wiki, for the publication and analysis of a unique archive of primary source records and photographs documenting the illicit trade in looted antiquities." Says Felch:
The inspiration for WikiLoot is the vast amount of documentation seized by European investigators over the past two decades during investigations of the illicit trade in Classical antiquities smuggled (primarily) out of Greece and Italy. The business records, journals, correspondence and photographs seized from looters and middlemen during those investigations comprise a unique record of the black market.
Much of that documentation remains tangled in legal cases that are likely to end inconclusively, like that of former Getty antiquities curator Marion True and dealer Robert Hecht. Despite remarkable investigative work by authorities in Italy and Greece, only the trial of Italian dealer Giacomo Medici reached a verdict.

WikiLoot will make these records and photographs publicly available on the web and will enlist collaborators around the world to tag and analyze them. As with Wikipedia, participants will be given credit for their contributions. Ultimately, we hope to create the world’s most authoritative dataset of a black market whose size and reach is still poorly understood. (Estimates of the illicit antiquities trade range from $200 million a year to $10 billion dollars a year.)
This Polaroid seized from the warehouse of dealer Giacomo Medici shows the Getty Museum's Statue of Apollo shortly after it was looted from a tomb in Southern Italy.
Researchers and the interested public are invited to collaborate to help fight the destruction of archaeological sites for the antiquities trade. They've applied for funding from the Knight News Challenge.

While the project is still in development, the WikiLoot Facebook page has become a nexus for fascinating discussions about collecting, looting and museums. The posts and comment threads are a regular who's who of scholars and journalists researching the antiquities trade, including David Gill, Derek Fincham, Larry Rothfeld, Neil Brodie, Fabio Isman, and others. This is a project worth following - it has the potential to not only be tremendous fun but also an innovative precedent for future research projects.

14 April 2012

Throw some unicorn on the grill

The British Library has discovered a long-lost medieval cookbook. The highlight? Roasted unicorn.
After recipes for herring, tripe and codswallop (fish stew, a popular dish in the Middle Ages) comes that beginning "Taketh one unicorne". The recipe calls for the beast to be marinaded in cloves and garlic, and then roasted on a griddle. The cookbook's compiler, doubtless Geoffrey Fule himself, added pictures in its margins, depicting the unicorn being prepared and then served.
This is so f-ed up but I can't stop laughing. More illuminations after the jump.