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Archaeological Research
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Journal of Archaeological Research. Vol. 12. No. 2. June 2004 (©2004)
INTRODUCTION
185
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186 Schortman and Urban
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Modeling the Roles of Craft Production in Ancient Political Economies 187
review of the general craft production literature). Such variety reflects great intel-
lectual vigor but also obscures the basic issues being considered and the directions
investigations are taking. We highlight some of these topics and trends, construct-
ing a model that focuses on the instrumental quality of specialized manufacture,
how researchers imagine that artisans and their products figured in power contests.
Like all conceptual frameworks, this one simplifies a complex reality in order to
identify patterns. The resulting summary is not definitive, not the statement on craft
production. It is a review that, hopefully, clarifies some points while suggesting
areas where future research may yield fruitful results.
The model outlined here focuses on how researchers, since 1982, have ima
ined the place of craft manufacture in ancient, hierarchically structured polit
economies, those imperfect, negotiated, dynamic relations that exist among p
cesses of production, consumption, and distribution, on the one side, and the
ganization and use of power, on the other (J. Arnold and Munns, 1994; Cobb
1993; Hayden, 1995; Pauketat, 1997; Poole, 1991). Craft specialization, the el-
ement of production dealt with here, is defined as fashioning items at volu
above and beyond the needs of the producing individual or group for excha
with those engaged in complementary economic pursuits (Clark, 1 986, p. 45; C
and Parry, 1990; Cobb, 1993, p. 66; Costin, 1991, 2001; Inomata, 2001, p. 322
Stein, 1994, 1996, 1998). Attention, therefore, centers on how researchers h
drawn connections among the fabrication, distribution, and use of specific goo
on the one hand, and, on the other, processes of political centralization (the ex
to which power is concentrated in a few hands), social differentiation (variati
in the identities assumed by members of a polity based on combinations of so
[e.g., kinship], economic [e.g., occupation], and/or ideological factors [e.g., aff
iation with specific cults]), and inequality (whether, and to what extent, hold
of these identities have unequal access to resources, including power) (Balandie
1970; de Montmollin, 1989; Feinman and Neitzel, 1984; Hayden, 2001; McGui
1983; Nelson, 1995; Paynter, 1989; Paynterand McGuire, 1991).
Values for these six variables, each treated as a continuum, are outlined
Table I. The form any one factor takes at a specific place and time is related
those assumed by the others, albeit in a nonmechanistic manner. The six dom
briefly outlined earlier and in Table I were selected because their importance
the study of ancient political economies is reflected by the considerable attent
they have received over the last two decades.
Each researcher who deals with specialized manufacture handles the abov
relations in a distinctive manner. We cannot do justice to this full range of v
ation here. Instead we will group recent investigations of crafts and politic
economies under several broad headings that highlight similarities in the w
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188 Schortman and Urban
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Modeling the Roles of Craft Production in Ancient Political Economies 189
in which political and economic processes are linked. The four themes singled out
for discussion here deal with craft goods as sources of economic power, founts of
ideological preeminence, means to achieving a degree of household and commu-
nity autonomy, and essential in creating and reproducing cultural frameworks of
meaning and affiliation. Pervading these intellectual motifs is a set of frequently
repeated oppositions that pit elites against commoners and an object's meaning
against its economic significance. These enduring archaeological dichotomies en-
courage researchers to return time and again to two major questions: "Who controls
and/or benefits to the greatest degree from craft production, elites or commoners?";
and "Are craft goods primarily used to convey meaning or to achieve economic
ends?" How investigators respond to these queries shapes their understandings of
a craft's significance within ancient political economies. The utility of maintaining
such distinctions is considered at the essay's conclusion.
The aforementioned themes are used to organize a complex, burgeoning lit-
erature into a manageable form, not as pigeonholes for classifying research on
specialized manufacture. Particular investigators do not blindly follow one theme
to the exclusion of all others. Many, in fact, address several of these motifs si-
multaneously or at different points in their careers. Rather than categorizing re-
searchers and their efforts, our goal is to highlight issues to which scholars fre-
quently refer when examining how the manufacture, distribution, and use of crafted
goods are related to processes of political centralization, social differentiation, and
inequality.
The first two themes alluded to above directly implicate craft production
in processes of political centralization and the creation of inequality. Elites are
perceived as active agents in the formulations summarized later, their manipulation
of specialized manufacture precipitating dramatic and enduring transformations
of extant political arrangements. Scholars pursuing this line of inquiry also stress
the functional significance of craft production, asking how this activity serves
to promote the interests of some at the expense of others. A concern with what
specialized manufacture "does" in political economies encourages the formulation
of cross-cultural generalizations. The search for these regularities is based on the
premise that the creation of hierarchy poses certain universal challenges, the most
pressing of which are how to convert equals into subordinates and encourage their
acquiescence to these radically changed circumstances. Faced with such recurring
problems, it is argued, would-be rulers consistently and independently fashion
similar solutions that involve craft production. These research themes diverge
over the relative weight attributed to the economic and ideological significance of
the goods artisans fashion. Many scholars, however, synthesize both approaches
in their studies of specific cases.
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190 Schortman and Urban
Creating Power T
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Modeling the Roles of Craft Production in Ancient Political Economies 191
Trubitt, 2000; Wattenmaker, 1998). In either case, it is not necessary that magnates
supervise entire production and distribution processes to undermine successfully
their followers' independence (Earle. 1994, p. 451: 2001: Lemonnier. 1992, p. 22).
Controlling strategic points in one of the sequences will suffice.
For example, the Inka managed to exert tremendous influence over the dis-
tribution of metal tools and ornaments within their extensive empire by replacing
copper with tin-copper alloys. This shift effectively reduced the ability of local
populations to make status-defining items of social display from widely available
copper sources as the limited supplies of Andean tin were under imperial control
(Earle, 1994, p. 456; Earle and D'Altroy, 1989, p. 203).
It would be naive and misleading to surmise that all scholars pursuing the pres-
tige goods theme consistently arrive at similar conclusions. Still, they share certain
understandings of how the political and economic variables outlined in Table I are
related. Specifically, prestige goods models posit elite patronage of crafts that use
imported raw materials and, most importantly, have high skill requirements. These
two factors facilitate monopolization of the manufacturing process, or important
steps within it, as access to essential physical and intellectual resources can be
centrally monitored (DeMarrais et ai, 1996, pp. 22-23: Earle, 1994. p. 446: 1997,
pp. 197-199; Gibson, 1996, pp. 1 10, 1 14-1 15: Hayden. 1995, pp. 22,44: Kenoyer.
2000; Moholy-Nagy, 1997, p. 309; Peregrine, 1991a, pp. 2-3; Spielmann. 1998,
2002; Wattenmaker, 1994, p. 118; 1998). For example, Harappan elites in the Indus
civilization during the 3rd millennium BC exclusively controlled the fashioning of
socially important items from locally available assets through the use of complex
firing technologies that they and their client artisans alone had mastered (Stein.
1998. pp. 22-23). This ability to monopolize technical knowledge contributed to
the creation of political hierarchies underwritten by debt and dependency (Stein,
1998, pp. 22-23).
Paramount funding of artisans, coupled with the high technical demands of
their professions, encourage full-time specialization and the physical congregation
of workshops within or near elite power centers. Distribution of political valuables
is also monopolized by rulers who thereby guarantee that they alone control who
receives, and in what quantities they receive, the goods in question. Demand,
therefore, tends to be limited but constant, resulting in production scales that are
relatively modest. Small groups of people laboring full-time for patrons yield sur-
pluses that are both sufficient and not so large as to swamp the market, thereby
reducing the rarity, and hence the political importance, of social valuables. In ad-
dition, the fewer people involved in the production process, the easier they are to
monitor (Costin and Hagstrum, 1995). When and where consumption levels are en-
hanced, the number of artisans, and their outputs, may well increase. This situation
could arise because the items involved are fragile and require frequent replacement
and/or they are regularly removed from circulation through, say. inclusion as burial
furniture. Such augmenting of the workforce might pose problems for controlling
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192 Schortman and Urban
production as growing nu
Hagstrum, 1995).
These economic process
and inequality. Prestige
into dependent clients w
"benefactors." Unable to secure on their own those items that make social life
possible, subordinates must turn to the monopolists for these necessities and "pay
their price." Loathe to alienate their patrons, the majority surrender at least some
of their autonomy and acquiesce to the demands of their leaders. Debt is the key
to dependence, which, in turn, is the foundation of power and the infrastructure of
hierarchy.
The link between the manufacture of prestige goods and social differentiation
is not as clearly or consistently drawn in the literature. Certainly, the development of
full-time artisans attached to elite patrons implies the emergence of social identities
that distinguish craftworkers from the rest of the population (Inomata, 2001; see
papers in Costin and Wright, 1998). The output of their manufacturing tasks is
also instrumental in forging novel elite affiliations overtly raised above those of
their subordinates. Beyond these developments, however, social differentiation is
not explicitly implicated in prestige goods politicoeconomic processes.
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Modeling the Roles of Craft Production in Ancient Political Economies 193
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194 Schortman and Urban
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Modeling the Roles of Craft Production in Ancient Political Economies 195
of efforts to construct and promote dominant ideologies; their success, like the
meanings of the symbols themselves, cannot be assumed.
Connections among the economic and political processes listed in Table ! are
much the same here as they are in prestige goods models, though in this theme they
are mediated more through meaning than economic dependency. Elite patronage
of attached specialists ensures monopolies over the use and distribution of their
politically charged output. This situation tends to involve fairly small numbers of
full-time specialists who live and work near the residences and administrative nodes
of their patrons. The objects, themselves, are almost invariably made from exotic
materials, always transformed through technologically complex, labor-intensive
steps requiring considerable skill (Clark, 1986; Hayden, 1998). As noted above,
these raw material and technological features greatly facilitate control over the
manufacturing process by those few who can acquire the needed resources and
master the appropriate techniques. Such considerations also help ensure that près*
tige goods are rare and valuable, thus heightening the impact of their messages.
Effective monitoring of the production process gives those in charge a decided
advantage in, if not absolute control over, disseminating messages that privilege
their position in the world.
Once again, the issue of social differentiation and its relation to specialized
manufacture has come in for less attention than have questions of power concen-
tration and inequality. Artisans and elites separate themselves out from the rest of
society, partly by virtue of craft activities, but no other social distinctions seem to
follow from these economic processes.
The models outlined thus far stress a top-down perspective on political
economies. Agency and innovation are certainly stressed, but the agents and in-
novators are almost invariably members of the upper class. Those they seek to
dominate are left as either hapless dependents, selling their labor for a particularly
fine pot, or dupes bedazzled by information dazzlingly expressed. The above state-
ment simplifies what are often sophisticated and nuanced theories. It does raise
the question, however, of whether or not commoners were going gently into their
own exploitation.
PROTECTING AUTONOMY
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196 Schortman and Urban
practice to maintain; a c
raw materials used in th
usually resulting in disp
in which demand was con
negotiated among produ
intervention (Fry, 1981
1994, pp. 216^217, 1997;
Production scales of com
items on the side for occa
enterprises organized on
few entrepreneurs (Cost
this continuum depends
be the primary one. No
elites try to reduce their
fashion items in volume
1991; Costin and Hagstr
see Lemonnier, 1992). The
shape and decoration, the
of shipping and use than
These crafts, in short, f
from prestige goods pro
(White and Pigott, 1996)
activities relatively open
that craftworkers exerci
(Hagstrum, 2001 ). To be s
manufacturing activities
and Sinopoli, 1992; Sinop
duction, consumption, an
The above features gen
production. The question
several ways. As was th
these approaches can be
of craft manufacture an
functionalist w concerns
cultural generalizations
elites, consistently face
ways. Here the problem
one's place within ever m
Working for a L
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Modeling the Roles of Craft Production in Ancient Political Economies 197
The political consequences of these processes are not clearly outlined in most
of the literature. Potentially, at least, artisans working outside direct elite control
could use craft production to enhance their material circumstances above basic
subsistence needs. Those individuals or groups with access to the widest array of
raw materials and the skills to transform them into finished goods could siphon
off resources from less favorably endowed households whose members engaged
in fewer crafts. The latter would have to surrender some portion of their labor
and surplus to obtain what they require from the former. Though no one need be
in thrall to their exchange partners, slight discrepancies in production potentials
among households could add up to significant differences in material gain over the
generations. The result would be a mosaic of household material well-being rather
than an economically homogenous class of equally impoverished commoners. How
marked these distinctions might become depends, in part, on the ability of domestic
units to meet their subsistence requirements by their own efforts. If that capacity
was seriously compromised, even the most productive commoner artisans could
find themselves economically marginalized, sacrificing labor just to get enough to
eat.
No matter how these processes play out. however, the result would be increas-
ing social differentiation. Peoples* lives would vary by occupation and the amounts
of time invested in specialized production. Those pursuing different crafts, or mixes
of crafts, would, minimally, have to learn varied skills and come to view the world
and its resources from divergent perspectives. If differential involvement in craft
production yielded distinctions in material well-being among domestic units, then
some measure of economic inequality dividing nonelites might ensue. The result-
ing pattern would be more a continuum of differences than the marked distinctions
between elites and commoners imagined in prestige goods models. As long as the
objects being fashioned were not expressions of elite affiliations or used to estab-
lish dependency relations, their significance in promoting or undermining political
centralization seems to have been nil.
Commoner participation in craft production, in these economic models, seems
to be geared towards producing mundane items to buffer artisans and their domestic
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198 Schortman and Urban
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Modeling the Roles of Craft Production in Ancient Political Economies 199
(Wattenmaker, 1998, pp. 202-203). Despite their ubiquity and apparent simplicity,
these seemingly mundane objects can effectively delimit social boundaries, though
without any necessary implication of inequality among the affiliations they mark
(Bowser, 2000).
The last two decades have witnessed an increasing concern with the ernie
quality of artifacts, i.e. what these items meant to those who made and used them
(Hodder, 1982. 1986). Specifically, there is a growing sense that the material world
has more than economic significance. Artifacts, through their patterned forms,
arrangements, and uses, materialize values and beliefs distinctive of specific cul-
tures or segments thereof. By making the abstract tangible, artifacts are essential
to inculcating basic cultural premises across the generations and to creating those
meaningful contexts that impart significance to, guide, and motivate patterned hu-
man action (Bourdieu, 1977; Geertz, 1973; Gillespie, 1999; Hodder, 1986; Joyce,
2000; Pauketat and Emmerson, 1999).
This approach marks a profound shift from functionalist arguments that equate
an object's significance with its use (Hodder, 1986, pp. 20-21). Though allowing
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200 Sc hört man and Urban
Not only finished products but also the ways in which these objects were
made are rich in cultural significance (Bernbeck, 1995: Dobres. 1995; Dobres
and Hoffman, 1995; Gosselain, 1993, 2000; Hendon, 1999; Lechtman, 1993;
Lemonnier, 1992; Perles, 1992; Pfaffenberger, 1988, 1992). Since most choices
made in manufacturing processes, or chaînes opératoires, are at least partially
culturally conditioned, they contain information about the artisan's worldview and
basic learned principles of behavior (Childs and Kilbick, 1993; Dobres, 1995;
Dobres and Hoffman, 1995; Gosselain, 1993, pp. 582-583; 2000; Loney, 2000:
López Varela et ai, 2001 ). People understand and express themselves through daily
practice, manufacturing sequences representing conveniently fossilized examples
of those practices (Robb, 1999).
True to their ernie roots, researchers pursuing the cultural significance of craft
manufacture and its output stress the historically contingent nature of the meanings
attributed by past peoples to both objects and production processes (Hodden 1 982.
1986). Each culture's meaningful structure, materialized through artifact forms,
arrangements, and uses, is a product of its unique history. People may face similar
problems in different times and places but their responses are conditioned more
by the historical and cultural factors distinctive of a particular group than by the
universal functional considerations highlighted in the approaches discussed earlier.
Consequently, cross-cultural generalizations concerning artifact meanings are, to
many researchers, impossible.
Social Identity
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Modeling the Roles of Craft Production in Ancient Political Economies 201
and prosaic goods discussed earlier. The aforementioned analyses, however, focus
on explicit, self-conscious efforts to communicate identities through manipulation
of physically salient features of design and decoration on certain particularly no-
table artifacts (especially pottery vessels and jewellery ). While acknowledging the
importance of these overt expressions of affiliation, a growing number of inves-
tigators stress that all items and production steps, no matter how mundane, are
well positioned to convey fundamental aspects of an artisan's identity (Childs and
Kilbick, 1993; Dobres, 1995; Fotiadis, 1999, p. 395; Gosselain, 2000). This is be-
cause manufacturing behaviors are frequently learned early in life, within domestic
settings, and express ways of acting closely linked to a person's sense of self as
a member of a particular gender, household, and/or small community (Dobres.
1995; Gosselain, 1993). All objects fabricated in the course of craft production,
therefore, display stylistic features that may subtly, but effectively, convey social
distinctions that were meaningful to their makers and users (Carr. 1995; Weissner.
1983). Artisans need not be explicitly cognizant of the meanings they express.
Habitual manufacturing processes and unobtrusive stylistic elements are often re-
produced and interpreted out of awareness (McCall. 1999; Sackett, 1972, 1982).
Consciously or unconsciously, however, craftworkers signal who they are with
every choice made in production, their compatriots raised under similar circum-
stances readily, if implicitly, decoding their messages. Technology and even the
most prosaic objects, in this view, are as rich in cultural information as any other
aspect of life.
How do insights into the ernie meanings of artifacts and production processes
figure in discussions of political economies? To date, relatively little effort has been
made to relate systematically the cultural contents of artifact styles and operational
sequences to other aspects of craft production, on the one hand, and to processes
of political centralization, inequality, and social differentiation, on the other (see
Hodder, 1979; Weissner, 1983 for some exceptions). At the very least, the scale
and intensity of social differentiation might well be discernible in changes within
production processes and increases in the variety of artifact styles. For example,
if manufacturing steps are shaped by cultural, as well as functional, considera-
tions, then proliferation of these processes, even within one industry, could signal
profound, microscale shifts in social affiliations. Such distinctions might not be
overtly expressed in other surviving media because they were generally understood
and required no reinforcement. Explicit communication of social difference also
may have been actively discouraged by elites in the interest of preserving at least a
facade of social unity (DeMarrais et al., 1 996, p. 3 1 ). In either case, differentiation
in production processes need not be a purely technological phenomenon. Rather,
it could signal, and reinforce, the appearance of new identities as pervasive as they
are subtly expressed.
This perspective raises the intriguing possibility that artifacts used to com-
municate elite-inspired models of the world simultaneously conveyed, through
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202 Schortman and Urban
The above review highlights the very general truth that craft production is
a unitary phenomenon. It is not a diagnostic of political complexity, solely
of elite domination, or exclusively a means for individuals, households, an
communities to achieve and maintain their economic autonomy and social
tinctiveness (Saitta, 1999, p. 143). Specialized manufacture can fulfill all of t
roles under certain circumstances. This observation, however, just scratches
tip of the conceptual iceberg. A brief examination of the floe's submerged port
suggests at least two important, general directions for future research: descr
the multifaceted relations among different craft industries and political proc
each operating at variable spatial and temporal scales, within political econom
and understanding the forces that generate these diverse interconnections.
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Modeling the Roles of Craft Production in Ancient Political Economies 203
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204 Schortman and Urban
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Modeling the Roles of Craft Production in Ancient Political Economies 205
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206 Schortman and Urban
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Modeling the Roles of Craft Production in Ancient Political Economies 207
Back to Basics
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208 Schortman and Urban
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Modeling the Roles of Craft Production in Ancient Political Economies 209
All objects have meanings, as well as uses, to their makers. Separating the
two components of an item has analytical value as long as it is understood that
neither one alone fully explains an artifact' s roles in a political economy. It may
be, as current trends in the literature suggest, that questions of social affiliation
are best addressed through ernie approaches while those concerned with political
centralization lend themselves to perspectives rooted in functional premises. Ulti-
mately, however, differences in power must by integrated within worldviews and
holders of social identities organized to accomplish tangible objectives through the
use, in part, of craft goods. How a workshop's output figures in a political econ-
omy, therefore, is strongly conditioned by both its locally perceived significance,
i.e., the ways it fits within extant and changing meaningful structures, and how it
functions in economic and political strategies.
Among early nineteenth century Marquesans who lacked locally made fire-
arms, for example, a rifle was a potent military weapon and a symbol of connections
to powerful and distant trading partners. The gun's political importance derived
from its prosaic and conceptual significance (N. Thomas, 1992). Along the same
lines, obsidian blades in prehistoric southeastern Mesoamerica were prized for their
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210 Schortman and Urban
SUMMARY
In general, the fashioning, use, and distribution of any one craft good m
well involve a wide array of people with diverse identities and interests, var
organized to achieve their goals, and distributed along several continua of elite
Coordinated or in opposition, it is the activities of these individuals and fact
that simultaneously determine the meanings and functions of crafted items.
these dimensions of status, meaning, organization, function, production, and dis
bution articulate strongly conditions the manner in which an industry is implic
in processes of political centralization, inequality, and social differentiation
these are expressed at different times and over varying spatial scales. As n
earlier, we rarely have the luxury of dealing with one industry by itself. Rat
attention must be paid to how numerous crafts were integrated with each other
the aforementioned political processes to create a political economy at a speci
moment in time.
The resulting picture is anything but neat and tidy and makes one nostalgic
for those days when specialized manufacture was just another item on a checklist
used to distinguish states from less complex political formations. The attractive
certainty about the nature of states and craft production embodied in that formula-
tion has vanished. Left in its wake is the discomforting realization that the elements
comprising political and economic structures are not neatly correlated internally
or with each other. The configurations they assume in any political economy at any
one time are difficult to describe and even harder to explain. Instead of being dis-
couraged by our growing uncertainty we should take heart that, by breaking unitary
political and economic forms into their components and charting their linkages,
we are finally coming to grips with the intricate, contingent, and volatile relations
that make life, in the past and present, so terribly messy and interesting. We are,
in short, now able to approximate ancient political economies less as simplified
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Modeling the Roles of Craft Production in Ancient Political Economies 21 1
caricatures and more as lived experiences. The research outlined herein suggests
just how confusing our models of craft production and ancient political economies
are likely to get, a good sign that we are on the right track.
ACKNOWLEDGMENTS
We are very grateful to Gary Feinman and Linda Nicholas for the invi
to contribute an essay to the Journal of Archaeological Research and, ju
importantly, for their patience in awaiting its arrival. The perceptive comme
Gary Feinman, Timothy Pauketat, Dean Saitta, and Charles Stanish, alon
those of two anonymous reviewers, greatly helped to refine the arguments pr
here, and we deeply appreciate the time and care that went into these asses
As should be obvious from the article itself, we are profoundly indebte
those scholars who have significantly contributed to the study of ancient
production and whose work has been so stimulating to the field-at-large
us in particular. Limitations of space and time have meant that some impo
studies were given short shrift and the work of every scholar was simpli
noted earlier, the model presented here, like all conceptual constructs, is s
and not all-encompassing. We take full responsibility for the choices mad
fashioning and for all errors that have infiltrated the construction process.
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