By Brian P. Kooyman
This generously illustrated tutorial advisor explains the exam and research of stone instruments and stone-tool websites at any place on this planet. Lithics specialist Brian P. Kooyman explores the creation, functionality, and context of stone instruments to appreciate how human cultures used lithic instruments at specific websites and to provide readers the sensible talents for lithic and placement research. The advisor covers production options, lithic kinds and fabrics, aid recommendations and strategies, world-wide lithic know-how, construction variables, which means of shape, and usewear and residue research. the writer attracts on wide box paintings in North the United States, rather at Head-Smashed-In in Alberta, Canada. in spite of the fact that, the idea, technique, and research applies to the research of stone instruments and lithic websites all over the world.
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Extra resources for Understanding Stone Tools and Archaeological Sites
This procedure is generally a slow process, usually removing only fine powder. Polishing (Fig. 4) is done with fine (small-sized) abrasives, such as fine sand, silt, and so on. An abraded surface will usually Page 11 Figure 5: Saw jade fragment be covered with scratches (striations) from the working, but will be relatively smooth. Polishing leaves a very smooth, often lustrous surface. Polishing is sometimes considered to be a cosmetic or aesthetic feature having no functional value, and in many instances this could be the case.
The entire weight of the body can be rested on the crutch to increase the load. If the flaker is put at the end of a lever, once again the amount of pressure can be increased. , Crabtree 1972). Flake types will be discussed in more detail later in the book, as will the meaning of flake features in terms of fracture mechanics, but for now only a basic categorization of flakes is needed. This categorization of flakes is based on the amount of cortex present on the dorsal surface and the form of the distal end or termination.
His high standards and skill in highlighting the best in the specimens has made a significant contribution to the clarity and usefulness of the book (I am responsible for the other photographs). I was very fortunate to have Lu-Anne Da Costa as an illustrator. Her artistic talents, patience, and knowledge of lithic technology have made my crude initial sketches and comments come through better than I had imagined possible. Many colleagues have discussed lithic analysis with me over the years and I wish to thank them for the shared insights.