Become a Creator today!Start creating today - Share your story with the world!
Start for free
00:00:00
00:00:01
Deconstructing a Complex Panel from Eastern California - Ep 119
576 Plays9 months ago
Chris and Alan discuss a panel that was discovered in the eastern Sierra’s of California recently. It’s one of the most complex panels that either of us have ever seen. We deconstruct this panel and talk about some of the elements.
Transcripts
- For rough transcripts of this episode go to https://www.archpodnet.com/rockart/119
Links
- To see the image, go to https://www.archpodnet.com/rockart/119
Contact
- Dr. Alan Garfinkel [email protected] Dr. Alan Garfinkel’s Website Support Dr. Garfinkel on Patreon
ArchPodNet
- APN Website: https://www.archpodnet.com
- APN on Facebook: https://www.facebook.com/archpodnet
- APN on Twitter: https://www.twitter.com/archpodnet
- APN on Instagram: https://www.instagram.com/archpodnet
- Tee Public Store
Affiliates and Sponsors
- California Rock Art Foundation
- Motion - Tasking
- Liquid I.V. Ready to shop better hydration, use my special link https://zen.ai/therockartpod to save 20% off anything you order.
Recommended
Transcript
Introduction to Dr. Alan Garfinkel and California Rock Art Foundation
00:00:01
Speaker
You're listening to the Archaeology Podcast Network. Hello out there in archaeology podcast land. This is Dr. Alan Garfinkel. I'm the president and founder of the California Rock Art Foundation. And what we do is we identify, evaluate, manage, and conserve rock art both in Alta, California and in Baja, California.
00:00:21
Speaker
We conduct field trips, we have trainings, exercise, we do research, and in every way possible we try to preserve, protect, and coordinate treasures of Alta and Baja, California Rock Guard, of which there are many, and diverse. We also work closely with Native Americans and partner with them to recognize and protect sacred sites.
Seeking Support for Preservation Efforts
00:00:42
Speaker
So for more info about the fabulous California Rock Art Foundation, you can go to carockart.org. Also, I'm open to give me a call, 805-312-2261. We would welcome sponsorship or underwriting, helping us to defray the costs of our podcasts, and also membership in California Rock Art Foundation, and of course, donations since we are a 501c3 nonprofit scientific and educational corporation. God bless everyone out there in podcast land.
00:01:16
Speaker
You're listening to the Rock Art Podcast. Join us every week for fascinating tales of rock art, adventure, and archaeology. Find our contact info in the show notes and send us your suggestions.
Discovery of a New Rock Art Panel
00:01:33
Speaker
Hello out there in archaeology podcast land. This is your host for episode 119, Dr. Alan Garfinkel. We have a real treat for you this time. We've discovered a new panel of rock art that is just endlessly engaging. It's on the eastern skirt of the Sierras, and it is a package of unbelievable imagery that will be enticing and mesmerizing.
00:02:00
Speaker
Welcome to the show, everybody. If you're hearing my voice, Chris Webster, that means that Alan and I are talking about something cool. So Alan, what are we talking about today?
Exploration of the Portuguese Bench Site
00:02:09
Speaker
Well, Chris, you know, I've been kicking around the Kosos for about 50 years now and seeing thousands and thousands of images of rock art. It's one of the densest areas of rock art in the entire Western Hemisphere. There's possibly about 200,000 individual instances of rock art.
00:02:27
Speaker
But I hadn't gone to a site called the Portuguese Bench, which is very well known. It's a site that the archaeological institute has acquired. It was excavated in part by David S. Whitley, who is one of the most prestigious rock art professionals in all the land. They excavated a village site on the eastern skirt of the Sierras.
00:02:47
Speaker
It was mainly at the Newberry period, goes from about 2000 BC to about circa AD1. I heard that there was a rock art panel there. I said, I'd love to see that rock art panel, see what it is. Well, they showed it to me and I was gobsmacked. It's an enormous pillar panel of granite that juts out of the ground. It's big as hell.
00:03:11
Speaker
And it's covered with imagery, covered. But you couldn't see it very well. It's on granite, which is very unusual. So we took a bunch of pictures of it. We gave it to a specialist to work up in post-process. And the more he studied it, the more interesting it got.
Significance of the Newly Discovered Panel
00:03:29
Speaker
And it ended up being probably one of the most outstanding panels of imagery I've ever seen, and the one that certainly has some of the most supernatural content and, I would say, metaphorically significant cosmological elements that I've ever seen packed into one panel. So I thought it would be worthy to talk a little bit about it and explain why this particular panel may
00:03:58
Speaker
be rather important. Yeah. Check this out in the show notes. So we've got a copy of this picture in there and it's really a drawing of the panel that was done and we'll put some attribution and some credits down there in the show notes. But take a look at it because while we're talking about this, you're really going to want to see it. So, but
00:04:14
Speaker
I've seen, and I know you have too, but I've seen some panels with a lot of different things on it, right? A lot of different motifs. And the cool thing about this one is there's so many different things on it, right? There's so many, there's not like one common thing or common thread or even common style throughout this panel. There's just so many things going on here that you really didn't take it in. It's a very diverse path. It has, it has every possible iconographic, you know, would you call it metaphorical indexical
00:04:44
Speaker
you know, instrument that I've seen in the Kosos for the last 50 years, all arrayed on this panel. We put together a book that you've heard a lot about, that we spent a couple of years putting together, and it's all about the serpent as a vehicle or indexical animal or semiotic metaphor to understand the cosmological significance and the thread that goes through from the most ancient Yuto Aztecan people
00:05:14
Speaker
all the way through from Eastern California to the American Southwest to the high cultures of Mexico. That was just put out by Bergen. It's called the Iconicity of the Udo Aztecs. It's by Tirtha Mukhabadai and myself.
Symbolism in the Panel's Serpent Imagery
00:05:29
Speaker
The reason I talk about that is this panel
00:05:33
Speaker
is full of snakes and serpents, literally full. You look at it. How many snakes are there? Oh, my word. They're all over the panel, aren't they? Yeah. Yeah, there's so many. Yeah. Now, the other thing that's unusual about the panel is of all the images I've seen of snakes in the Kosos, they usually are shown in association alongside of some sort of a
00:06:01
Speaker
animal human figure, let's say. I've only seen it, I think, two other times where they're actually in a particular figure's hand, right? Or mouth, just twice. And all the thousands and thousands of panels I've seen. This one has it once, twice, even three times, it looks like. They're holding the snake in their hand.
00:06:29
Speaker
Yeah, they are. And you can tell what kind of snakes these are because I've learned from snake experts that when you have these triangular heads on those snakes, they are the poisonous snakes, the famous rattlesnakes rather than the bull snake or any other kind of snake. These are the venomous ones, the ones that will poison and can potentially kill you. Yeah.
00:06:53
Speaker
Yeah, I'm seeing, I see at least three and possibly the figure on the top might be holding two snakes, but it's probably something smaller, like a staff or a stick, because it's a bone. It almost looks like a femur that the top one is holding in his other hand. Well, the interesting thing about that topmost figure, he
00:07:14
Speaker
or she, I think it's a she, you know, has human-like qualities. The feet are human. The torso is human. It's a solid-bodied figure. I see it. But the face, the face is a star. I have never, ever seen a face as a star anywhere in the Kosos, anywhere.
00:07:31
Speaker
Never. Never, never, never. And I think it might be a male figure too, because there's no, there's no detail in the chest, but I'm pretty sure it has genitals. I'm not really sure. Right. Now, if you look very closely at the genitals, it's an inverted U.
00:07:48
Speaker
and that's a uterus and that's a female. And in fact, if you look at all three of those figures, they have something there in the genital package that would lead us, sometimes they call it a pudendo or a pudendum. Anyways, most likely those are all three are females. And one of the reasons I say that is not given that these are so informative, it's that
00:08:14
Speaker
I'm finishing up a multi-year study of all of these decorated animal human figures throughout the Kosos. We've classified them, we've analyzed them to death, by the way, and it runs that almost three or four to one feminine versus masculine.
00:08:33
Speaker
The feminine figures are overwhelmingly exemplified during this period of time, and they have the decorated torsos rather than the solid bodies. And those solid bodies come in a little bit later.
00:08:47
Speaker
And in a big way, they become men. That's when the men come in. Interesting. Yeah. One of the other figures that's in here, it looks like it's drawn inside of another animal. It is. Right in the center. Yes. I've never seen that either. That's the first for me. I think that's either a, it could be a bobcat. It could be a cougar. It could be a mountain lion. It could be a wolf or something like that.
00:09:15
Speaker
The figure above it is definitely a mountain lion. They usually show them with very, very long and extended tails. And the rounded ends of their legs, those little club-like feet, the little circular feet, are sort of a clue to that. But yeah, that little little figure, the little diminished figure that's inside of the other animal is rather unique. There are bighorn sheep all throughout the whole figure, but most of them, most of them
00:09:45
Speaker
are not classic koso in style. They're a little bit earlier, and all the non-koso ones are moving from right to left, and the two koso ones are moving from left to right. There's a koso big horn sheep off to the right, and there's one you can just see ever so slightly, just to the right of that mountain lion up at the top.
00:10:10
Speaker
And it's got that classic bifurcated front-facing look to it. And you could miss it very easily. I did several times before it jumped out and bit me. But it's got stars all over it, which I haven't seen ever anywhere else in terms of the stars.
00:10:28
Speaker
It's got the projectile points that we keep talking about, the ELCO, the series projectile points, those ones that are diagnostic of that period, the Newberry period from 2000 BC to AD1. It's also got a foot in the very center of it. And I write about the foot, and it's a fertility sign, this foot thing. It's prominent in the
00:10:55
Speaker
sort of indigenous cosmology to talk about feet as having sort of a reproductive symbolism gig. It's even in the Bible, by the way, when they talk about an association, they said she spent the night at his feet. That's the line that it says to sort of avoid talking about the other element
00:11:20
Speaker
but it's a foot turning into, a projectile point turning into a foot. And the projectile point is emanating these rays, these power lines, as you call them, right?
Cosmic Themes and Native Understanding
00:11:30
Speaker
Yeah. Yeah. That projectile point looking thing with the, that looks like a foot turning into a projectile point, you're totally right. To the right of that, there is another foot that looks more obviously like a foot above the
00:11:42
Speaker
Yes, yes. The kind of deformed picture of a person or something like that. But what gets me is the animal underneath all of that, the horn coming off of that animal is attached. It goes right up through a line, right up to the foot that's in the center of it. I mean, that looks like it was an element of the drawing, not some sort of feature of the rock. No, no, it is. It's a connection. And again, I know I can beat a dead horse, but this particular panel
00:12:11
Speaker
screams to me the issues of fertility and reproduction and resurrection and renewal. Part of that is this obsession with snakes that had to do with their losing of their skin, where they shed their skin and they come back again.
00:12:30
Speaker
And part of the ancient U2S, Tekken, and even the actual classic high cultures of Mexico had a fascination or an obsession with snakes having to do with the resurrection theme, the theme of death.
00:12:46
Speaker
and life, life and death. When one opens up an individual and looks inside of them, of course you see the veins, the arteries, and the elements of the stomach, and they all look like snakes. And so this kinship of energy, energetics, and vitality coming from these snake-like organs was something that was part of the cosmology of the
00:13:13
Speaker
of the indigenous people in the high cultures of Mexico. All right. With that, let's take a break and we'll come back on the other side and continue talking about this amazing panel. Don't forget to check it out in the show notes so you can follow along with what we're saying back in a minute.
00:13:27
Speaker
Welcome back to the Rockart podcast episode 119. And we are talking about a fascinating panel that was recently discovered in California near the COSO range. And again, look down in your show notes if you haven't done so already and pull up an image of this because it is just fascinating what you see and all the different elements when you're looking at it. And one of the things that struck me as we were kind of going to break a little bit
00:13:49
Speaker
was in the bottom right-hand corner, there's two things that are interesting to me. One is the apparent star, and it's like a five-pointed star like we would draw as a child. And it looks like there might be even some things coming down from it, almost like shooting stars, like traces or something like that. And they're all kind of coming down on top of this human figure.
00:14:11
Speaker
that has what looks like a cross in its head. And I know a cross symbol is not unique to Christianity. It's just a symbol. It's just a drawing. But it's really interesting, this whole group of elements here. So the biggest figure in the panel is down at the base.
00:14:29
Speaker
The smallest figure is up at the top. The top figure, besides having a face as a star, has a wand and is holding a snake, either holding one snake or even another snake and there's multiple snakes. They have snakes that look like lightning and that end in projectile points. And that again is something that's very characteristic of the
00:14:52
Speaker
Udo Aztec and cultures, the Pueblos in the southwest, the Hopi, the Zuni, and the high cultures of even Mexico. And they see these projectile points raining down from these supernatural beings, these gods and goddesses. And they see them as inseminating elements that they would go down into the earth and fructify or create new life.
00:15:22
Speaker
You see what I mean? It's like rain. It's rain, it's lightning, it's a projectile point, and all of these things are piercing this Mother Earth metaphor and growing plants, causing life to
00:15:38
Speaker
ascend. How's that? You just said something that just made me think because, and I never really thought about this before, but I'd never really looked at the snakes and things like that while we're drawn in this detail. These ones that clearly have diamond shaped heads representing the
00:15:54
Speaker
the diamond-shaped nature of the rattlesnake. There's definitely snakes out here in the West that have that shape. And I know that those snakes don't exist all over the world, but I wonder if just in some places, the triangular-shaped nature of the deadly projectile point is mimicked after the triangle shape of the deadly snake head, the way that it strikes at its prey.
00:16:14
Speaker
I have never thought about that, but I'm sure that metaphorically, an analogy again, you've got the projectile point form of the rattlesnake and the projectile point form of the points, the darts and the arrow points, and they mirror one another. Additionally, the lightning strikes that crash of thunder and that bolt of lightning
00:16:40
Speaker
is mimicked by the rattle of the rattlesnake and that hissing noise that they make, and then the strike of the rattlesnake's bite, where they rear back and then they bite you. So that was seen as lightning. That was another analogous metaphor for lightning.
00:16:59
Speaker
And of course, the lightning, the thunder, the rain, those are all the most heavenly and ethereal and celestial elements coming from the sky. But then you've got that paired with an animal that lives and works and ruminates
00:17:22
Speaker
Its habitat is on the ground and under the ground. You've got a unification from the highest realm to the lowest realm. There's a thing called the journey of ascent and descent, and I've talked about it in my papers. It's one of the cycles that are depicted in Rockguard and also in the cosmology, etc.
00:17:47
Speaker
Native people see the world as cyclical, and they see the connections between the heavenly circuit to the terrestrial circuit. And it's a big, huge wheel that continues to go and grow as we move through our lives and as we
00:18:06
Speaker
begin to understand the nature of things. They're always looking for those kinds of connections, those kinds of relationships, the principles of reciprocity. That's what interfingers in everything about native culture. Does that make any sense to you?
00:18:23
Speaker
Yeah, it does. I mean, they were so connected and, you know, tuned to the land and their surroundings that, I mean, that only makes sense. I mean, to a degree that there's no way we could ever truly understand a panel like this and the symbolism involved. I mean, we may be guessing at some things based on... Oh yeah. Oh yeah, of course. Ethnographic evidence, but yeah, how close are we? Well, that's the thing. There's a woman, her name is Carolyn Boyd.
00:18:51
Speaker
She wrote a book on the White Shaman panel in the Pecos section, the Pecos River, there in South Texas. And the whole book is deconstructing a single panel of rock art. And she argues that she can, in fact, understand or deconstruct
00:19:11
Speaker
this very complex panel because it demonstrates or it creates or communicates the creation narrative of the Wicho and of the Nahua people.
00:19:26
Speaker
It won the 2005 award for the best new book for the Society for American Archaeology. Using ethnographic analogy, using a deep time understanding, linguistics, and also examining cross-culturally the nature of these symbols, I think we can at least approach
00:19:50
Speaker
some sort of a distant understanding of some of the communications that this kind of panel or this kind of esoterica is really telling us.
00:20:01
Speaker
I don't think we got it right. I don't think we even got it close to right, but we may be asking the right questions. How's that? Yeah, possibly. And, you know, speaking of questions, I've got a lot of questions about the big dude down on the bottom here, because just the wavy, almost ethereal nature of this being and then this kind of line that goes across at its neck, shoulders, I don't know, because he's got like a point, like a dotted head. Like it's almost like, you know, like somebody who's almost high.
00:20:29
Speaker
on drugs. That's how your head would feel. And then he's got a snake in one hand, like a plant in the other. Right. And that plant is probably the visual shorthand for a bighorn sheep. That head thing there, that's what they use in the COSOs everywhere to show bighorn sheep. You've got one of them upwards in the right with the two dots under the horns. See, there it is again. It's a visual shorthand.
00:20:55
Speaker
for the bighorn sheep. It means bighorn sheep. And you're exactly right that that particular individual, if we use the shamanistic model, the explanatory platform, would be under altered states of consciousness. And that's how you feel when you're taking psychotropics. You lose all sense of who you are. You meld into other things. You feel as though you're part of the universe. Your head is gone, right? And your whole body feels like it's melting away.
00:21:25
Speaker
And that's what it's showing. Yeah. Wow. That's amazing. I don't think I've ever seen anything quite like that before. No, and I hadn't either. It's very, it's very representational. It's very indicative. Now at that ethereal individual's foot, right on the right most foot, right above there, there's a thing that looks like it's sort of a, I don't know, like a safety pin.
00:21:53
Speaker
that sort of inverted yeah, that is the symbol that's being used all over the Great Basin for our famous wing trap. The wing traps remember the wing traps we talked about that they use to to shuttle the bit to kill. That's what that is. It's exactly that simple. Yeah. Wow.
00:22:15
Speaker
That's, that's at the heroin gap. That's all that's at Nymaw Canyon. That is the symbol that they use to show that they are cordoning off and assembling a hunting party to kill antelope, bighorn, sheep, deer, some sort of big game animal. Isn't that amazing? Wow. That is amazing. All right. Let's take one more break and then spend a little more time talking about this panel. Okay. Yeah.
00:22:40
Speaker
We need to take a minute to think about this and give everybody else a chance to think about it And then we'll come back on the other side and keep talking about it back in a minute. You got it
00:22:49
Speaker
Welcome back to the Rock Art Podcast, episode 119. We're talking about this fascinating panel. Again, look down in your show notes and find an image of it. I want to talk about two things. The first one is the animal that is probably the lower animal and kind of in the center and it's next to the kind of shamanistic figure and by the safety pin, so to speak. It's got sort of a U-shaped
00:23:13
Speaker
indentation with a very clear line that was carved specifically into it right in the center. Does that represent like a wound or femininity or something like that? Probably represents a womb. Not a wound, but a womb. WOMB. And again, penetrating and indicating that this is more about fertility and about the
00:23:37
Speaker
you know, reconnection of animals with growth and abundance and reproduction. You mentioned this, that, you know, all their, all their tails are up or parallel to the ground, right? So what does that mean, doctor? It means they're ready to receive their fertile.
00:23:56
Speaker
They're open for reproduction, open for business. So God bless them. Yeah, and that's what we found when we talked to the wildlife biologists who tell us that only during the rut period when the females are anesthetist do they wag their tails, and they certainly are
00:24:15
Speaker
in an upwards motion demonstrating their availability for fertility and reproduction. So that's interesting. And then I think one of the last things I want to talk about, which is something I've literally just recognized, is that that wand that's in the uppermost figure
00:24:35
Speaker
appears in the Kosos many times, about half a dozen different times. And it's kind of a bifurcated, pointed wand that looks like it's almost like a divining stick, like a Y, shaped like a Y. And I always wondered about that. And it turns out that Bernard Jones identified and described those kinds of wands, and they said they talked to a Hopi elder.
00:25:05
Speaker
And the Hopi are a Uto Aztecan isolate out in the American Southwest. And it's one of the oldest, continuously, and most conservative group that we've got there that retained their sort of archaic religious metaphors unchanged. And so they said, oh, that wand? We use that during our sun ceremonies. And also, it represents the balance of the universe.
00:25:30
Speaker
the good, the bad, the old, the new, the young, the fresh, the disabled. And it helps us to understand more about the cosmic nature of our celestial sphere. And the people that hold those are our sun watchers.
00:25:51
Speaker
Oh, really? Who are they? Well, they're the people that watch the movement of the sun and tell us when the sun stops its movements in the heavens. And we have to pray and ask our creator gods to get the energy of the sun to move ahead and go back on its travels and pick it up and not have it stand still anymore and move again and keep the universe going.
00:26:18
Speaker
It's a time of world renewal and it's a very dark time and a very serious time when we have to do that because we're holding life in the balance. If the sun doesn't move, we're not going to be able to live.
00:26:33
Speaker
So that's called the Winter Solstice. That's about the time of Christmas, about December 21st to December 25th. And if you look at the sun in the sky, it's a time when for three or four or five days, it literally sits in the same location in the sky.
00:26:51
Speaker
Right. Wow. So so there's one right there. And then this panel is very unusual because it has so much of a celestial and sky and night sky sort of appearance to it. There's stars, there's trails. There's all this other stuff going on here that sort of has a much more cosmic flavor to it than anything I've ever seen in the Kosos. Yeah.
Mary's Cave and Solar Observations
00:27:20
Speaker
The only other place I've seen that kind of emphasis was at Mary's Cave. And Mary's Cave is the place where they actually have demonstrated that that is an observatory for the movement of the sun.
00:27:35
Speaker
and that they have a horizon marker during the winter solstice that is directly across from that viewing point. And an astronomer spent the better part of 20 years proving or demonstrating that that was in fact the case.
00:27:51
Speaker
Wow. One of the other things I wanted to make sure we get in here because you mentioned it a little bit, I think at the beginning as just an element, but the center, one of the center things here is the projectile point foot thing that has these lines reading out from it. And you call them power lines and they really do look like some sort of, you know, sci-fi movie where some sort of electricity is coming off of something.
00:28:16
Speaker
Right. If you read the ethnography, current ethnography, from the native people of Namek, Udo Aztecan background, they will tell you that the central principle of one of their cosmic elements, a hallmark of their religion, is the concept of puha or buha, that everything has power.
Spiritual Concepts in Rock Art: 'Puha'
00:28:38
Speaker
It's electricity. It's an engine that keeps things moving and connected and powerful and cosmic and sacred and all of that all wrapped up together. And so the spiritual energy can be accessed only by those that open themselves up to these realms of non-ordinary reality because they can't be seen or sensed otherwise. So the way you can do that is by
00:29:07
Speaker
altered states of consciousness, not necessarily using drugs or other things, but you can do it through, you know, chanting, drumming, from just arduous exercise, from gazing in the mountains. There's all kinds of different ways to do this, but it's akin to some of our religious practitioners who pray and then receive
00:29:31
Speaker
and move into this ethereal realm and feel like they're one with the universe. Wow. Yeah. It's so much to take in. And if you've ever taken drugs like I have, way back in the 1960s, and you've done sort of psychotropic stuff, not LSD, but what's the other one, psilocybin?
00:29:56
Speaker
You see those power lines and you see those shafts when you move your hand. There's a trail that is visible and the colors are intensified anyways.
00:30:10
Speaker
as though people that open themselves up to this other reality, this alternative state of the universe, are provided with a bit of a picture, a different sense than conventional folks that don't do crazy things like that.
00:30:29
Speaker
Right. All right. Well, one last thing here, as we're wrapping this up, I'm just wondering if you've heard of any preliminary analysis on the actual morphology of this thing and how it's been constructed and to see if a lot of this, if they think a lot of this was put together at about the same time, or if there are elements drawn on top of each other and, and, and possibly at many different times at all. And this is a drawing that we're looking at. So it's hard to tell from this to this angle, but it all looks pretty fresh and like it was drawn at the same time.
00:30:58
Speaker
I would argue that most of it is very fresh and it was done in a singular or extended foray into assembling these elements. I think that some of them may have been added a little bit later, but I'd say that 90, 95% of them were ensconced during a singular or extended period of production. That's what I would believe. Okay. All right. Well, any final thoughts on this panel,
Interconnectedness in Native Theology
00:31:25
Speaker
doctor? That's pretty fascinating.
00:31:27
Speaker
pretty outrageous. It's an example of this endlessly engaging exercise that I'm involved in. I think it helps one to sort of get a sense of some of the things we talked about. You know, we had a couple of discussions about Amerindian perspectivism, and this certainly espouses it with all the variability and all the connections that are made between humankind
00:31:56
Speaker
and animals and celestial bodies all interacting in a mosaic and an interactive one at that. If one wanted to better understand
00:32:09
Speaker
the native theology, I think if you stared at this panel long enough, you might get a glimmer of what that's like. Wow. All right. Well, I think with that, we will wrap it up. I mean, if you've got any questions, send them in. Contract info is in the show notes, but definitely take a look at this image and just see what you think about the images and what you can make of some of this stuff and what you think it might mean because you can't do any worse than we're probably doing right now because it's hard to say sometimes. So definitely take a look.
00:32:38
Speaker
See you in the flip-flop, gang.
00:33:18
Speaker
This episode was produced by Chris Webster from his RV traveling the United States, Tristan Boyle in Scotland, DigTech LLC, Cultural Media, and the Archaeology Podcast Network, and was edited by Rachel Rodin. This has been a presentation of the Archaeology Podcast Network. Visit us on the web for show notes and other podcasts at www.archpodnet.com. Contact us at chris at archaeologypodcastnetwork.com.