42 Integration with research designs
wares as a proportion of the total ceramic assemblage on a site (Fulford and
Huddleston 1991,9-11,48).
Data therefore need to be recorded in such a way that they can be used by
other workers. The most obvious area of standardisation concerns termin-
ology and classification, although the names used for a particular class are
irrelevant so long as it is possible to translate from one worker's classification
to another's. Quantification is a less obvious area for standardisation and
yet
all examples given above require standardised methods of quantification (see
p. 166).
Having emphasised the need for cooperation and standardisation, the case
for ensuring some sort of continuity within a region must now be made. If
there is a system of classification and recording in operation within a region
then any move to abandon this system must be thought through carefully.
Change for the sake of change is pointless and will have the effect of making
all previous records less accessible and less useful. Such is the speed of change
in pottery studies that there are excavation units in the United Kingdom
which have been in existence for less than two decades but which nevertheless
have three or more incompatible systems of recording amongst their records.
To use computer jargon, it is important to ensure upwards compatibility
when a system is modified. At Lincoln and London many data sets have been
transformed from earlier systems into current formats. It is never as simple as
it might appear and usually requires re-examination of the potsherds them-
selves. This creates problems of logistics, especially if the material is stored in
a different place from that where the work will be undertaken.
Archaeology does not take place in an ivory tower and the factors which
eventually lead to the choice of system to be used on a project will include
time and money as much as the aims of the project, the potential uses of the
data and the need to work within an evolving discipline. Potsherds can be
classified and recorded in the most minute detail and some of the recording
systems developed and used in England in the 1960s and 1970s recorded
virtually every characteristic which could be recognised, from fabric and
form, through sherd thickness and hardness to the colour of the core and
surfaces of the sherd. Fashion has moved on, and it is currently in vogue to
record the bare minimum as a basic record. It may seem obvious that the
more one records the longer the recording will take, but there is always a
temptation to record in more and more detail and a tendency to forget that
while it may only take a few seconds longer to record two traits instead of
one, on a single occasion a typical site pottery collection might contain tens
of
thousands of sherds. The more common a trait is, the greater the possibility
that its study might be rewarding in terms of revealing a pattern but the more
time and effort will be added to the project. By contrast, rare features, such
as
complete, highly decorated vessels, might be recorded in tremendous detail
without adding appreciably to the length of the project, but without adding