Reading the past
(Hodder 1982a) to see whether they really do generate the
observed patterns. Such work, then, appears not to involve
risky leaps of faith: apparently no meaning is assigned and
there is much scientific rigour. The analysis is purely formal.
As a result such work can easily be placed within positivist
New Archaeology – it offers no threat, particularly when
linked to systems interpretations (see below).
Is it really the case, however, that formal analyses do not
involve the imposition of meaning, that they are not con-
cerned with content? Let us take as an example Washburn’s
analysis of the chevron design
. Her concern is to elim-
inate ‘subjective design labels’ such as ‘chevron’ (1983, p. 143),
and she prefers instead ‘Class 1–110: one dimensional designs
generated by horizontal mirror reflection’. Washburn sug-
gests that the chevron design has been generated by placing
an horizontal axis through the ‘chevrons’ and seeing the up-
per part as a mirror reflection of the bottom part:
= = horizontal mirror reflection
An alternative analysis would be to take the units of design
not as the individual slanting designs but as the chevron:
= = horizontal mirror reflection
Washburn attempts to avoid such ambiguities by defining the
unit of analysis precisely as the smallest asymmetrical element
(such as the comma). However, clearly lines and circles can-
not be fitted into such a scheme, and the definition is itself
arbitrary: while it may assist objective analysis, it may hide
other levels of symmetrical relationships as in the chevron
example above. Equally, the axis along which symmetry is
sought is an interpretation, not a description, of the data. Put
another way, the symmetrical analysis is a description within
a set of interpretive decisions. Thus, such analyses do involve
giving meaning to content – they are not just formal descrip-
tions to aid comparison. To perceive a mark on a pot as ‘a unit
of analysis’, or as a ‘design motif’, is to give meaning to that
mark, to interpret its content, and, whether we like it or not,
it involves trying to see the design as prehistoric people saw it.
50