SECRETARY SARAH JARMER SCOTT’S VISION STATEMENT
Sarah Jarmer Scott was elected as ASOR’s next Secretary by the Board of Trustees during the Annual Meeting in November 2024. Sarah will serve a three-year term as Secretary until December 31, 2027. Below is her vision statement for ASOR:
ASOR has been a foundationally important organization for me, and I know it has been for others. It would be an honor to give back by serving on the Board, and in doing so I would hope to support and grow its programming and membership. Not only has it provided academic, intellectual, and networking opportunities for my work, it has also provided a community for pedagogical support. My area of scholarship is fundamentally interdisciplinary, while also being inter-regional. As a specialist in Mesopotamian glyptic and visual culture, I engage in dialogue with art historians, archaeologists, philologists, anthropologists, and museum professionals. My own experience in presenting papers and chairing sessions has opened paths for research and publications, as it has for others. The networking and social component – particularly through the annual meetings – has also been important in my own growth and confidence as a scholar. The diversity of attendees and members, as well as the commitment to social justice in the many disciplines represented by ASOR, is an essential component of the organization, and one that is key to its success.
As one of many members who teach at a small college where I am the only person in my area of specialty, ASOR is an important community, as it provides a venue to talk to like-minded researchers and teachers, collaborate, and bring back ideas. While my main role at Wagner is as professor of Art History (where I teach Mesopotamian, Egyptian, Greek, and Islamic Art, Museum Studies, as well as writing seminars), I have also served as Dean and directed a number of grants. Having seen some of the challenges facing higher ed, and sought to empower colleagues and students to find success in their work, I know that organizations like ASOR are essential in bringing deep knowledge and resources to such endeavors; I see opportunity in deeper collaborations between and amongst ASOR, its membership, and higher education institutions and museums.
My experience with ASOR (conference attendee, presenter, session chair, and utilizer of multiple ASOR resources and publications) has given me insight and knowledge of the organization and will serve to make me an excellent Secretary. I’d also like to call attention to my 20 years of experience on the board of the local Staten Island AIA chapter. I am proud of the work I did with them and the amazing programming I developed for that community (lectures, trips, archaeology fairs).
In the years ahead I know ASOR will face many challenges. Surely the organization will rise to those challenges. Continued and emphatic devotion to development of scholarship, diversity, social justice, community-based collaboration, and creative partnership development will enable ASOR to succeed and thrive. I look forward to serving the Board of ASOR.
ASOR would also like to welcome three new trustees to the Class of 2027:
Andrea Berlin (Institutionally-Elected Trustee)
Helen Dixon (Membership-Elected Trustee)
Emily Hammer (Membership-Elected Trustee)
In 1902, Margaret Alice Murray got invited to work in the field—finally. Training with Flinders Petrie for the last eight years, she had taught plenty of students in London, but had never been to Egypt to work herself. She spent only one season at Abydos, working in the Osireion, a special temple that no one had yet fully understood. Two years later, Murray’s publication, The Osireion at Abydos, upended all previous theories about the site. By 1938, Amice Calverley and Myrtle Broome were leaving Abydos, having spent almost a decade copying the art in the Temple of Seti I. Their own publications, The Temple of Sethos I at Abydos, were four volumes of brilliantly painted art from the temple walls in exacting detail. This talk will detail the ways in which the work women did on site at Abydos in the early 20th century impacted our understanding and reception of one of the most important sites in all of ancient Egypt.
Dr. Kathleen Sheppard is Professor in the History and Political Science department at Missouri S&T. Her focus of study is the history of Egyptology. Her most recent book, Women in the Valley of the Kings, tells a history of Egyptology through the perspective of women’s work in the field. Her 2022 book, Tea on the Terrace: Hotels and Egyptologists’ Social Networks, investigates the role of hotels as hubs in the professional and friendship networks of Egyptologists in the late 19th and early 20th century. She received her MA in Egyptian Archaeology from UCL in 2002 and her PhD in History of Science from University of Oklahoma in 2010.
The last phase of the Middle Bronze Age on Cyprus (c. 1750–1650 BC) saw a number of dramatic changes, both in settlement patterns and structure, with many sites abandoned and new sites founded near the coast. At the exceptional long-lived coastal Bronze Age site of Kissonerga-Skalia near Paphos, a settlement established at the transition to the Early Bronze Age (c. 2400 BC), the site was completely restructured during this time and earlier domestic buildings were built over with an industrial architectural array installed in their place. This was only occupied for one or two generations before Kissonerga-Skalia was abandoned for good. Ongoing excavations are revealing a number of large pyrotechnical features and associated finds within this ‘monumental’ complex dating to the transition from the Middle–Late Bronze Age, a period during which we see the first moves towards urbanism 
Dr Lindy Crewe has been the Director of CAARI since 2017. Prior to this, she was Lecturer in Archaeology at the University of Manchester, UK. Her research focuses on Cypriot prehistory and international interconnections, with a particular interest in the Chalcolithic and the Bronze Age. She is currently directing excavations at the Early–Middle Bronze Age settlement of Kissonerga-Skalia near Paphos. She is the author of two monographs, three edited volumes and over 30 articles, on topics including settlement at Late Bronze Age Enkomi and the Chalcolithic cemeteries at Souskiou. Her most recent work is a volume resulting from a conference organised by CAARI and the British Museum (with co-editors T. Kiely and A. Reeve) entitled ‘Empire and Excavation: Critical Perspectives on Archaeology in British-period Cyprus, 1878–1960’, which will be published in early 2025. She first came to Cyprus and CAARI 30 years ago as an undergraduate student from Australia to excavate at Marki-Alonia and became passionate about the archaeology of the island, spending considerable time staying at CAARI for her doctoral research and beyond.
Archaeologists are moving away from the colonial past of the discipline and are increasingly finding ways of engaging and collaborating with the communities where we work. Since 2016, the University of Michigan archaeological project in northern Sudan that Dr. Emberling co-directs has been conducting research at important sites of the ancient empire of Kush, first at the royal pyramid cemetery of Kushite kings and queens at El-Kurru (ca. 850-350 BCE) and more recently at the major urban center at Jebel Barkal (ancient Napata). Their work has come to be highly collaborative and engages extensively with local communities.
This talk is not primarily about those excavations. Rather, it will discuss what has happened in Sudan since the outbreak of war in the country in April 2023 with a particular focus on heritage. It will provide an overview of the conflict, discuss real (and imagined) threats to museums, sites, and monuments, and discuss the wide range of responses by the Sudanese government, Sudanese scholars, international institutions, and foreign-based archaeologists. It will also focus on the work done with communities and colleagues at El-Kurru and Jebel Barkal.
Collaborative relationships developed by the teams and others working in Sudan have made it possible in some cases to continue to work together on on-site management and protection and community engagement, even at a time of unimaginable struggle and hardship in the country. This work has raised the question of whether it is unethical to be focusing on heritage when people are suffering. However, Dr. Emberling and his team have found that through collaborative work (and flexible and generous funding), they are able to provide direct support to a large number of people to continue their archaeological work. This provides meaning and purpose for their archaeological colleagues, while their community engagement activities offer opportunities for local residents and refugees to relax, connect, and even have some fun in the midst of a dire situation. It turns out that heritage is always about people.
Geoff Emberling is an archaeologist and museum curator at the Kelsey Museum of Archaeology, University of Michigan whose work has focused on the ancient Middle East and Northeast Africa. He is also a longtime ASOR member. He directed excavations at Tell Brak in northeastern Syria until 2004 and then took a position as Museum Director and Chief Curator at what is now the Institute for the Study of Ancient Civilizations (ISAC) at the University of Chicago. While there, he supervised an exhibit on the looting of museums and sites in Iraq around the 2003 US-led invasion.
The land of ancient Thrace comprised present-day Bulgaria, much of Romania, and parts of Greece and Turkey, and the tribal peoples who inhabited these territories of the North Aegean region were the Thracians. They were renowned for their skill as warriors and horsemen, as well as for their wealth in precious metals, but they left few written records, and knowledge of their history and customs has long been dependent on brief accounts from ancient Greek authors, particularly Herodotus and Thucydides. Thracians appeared in Greek myth as formidable adversaries in the Trojan War, cruel kings, and followers of the god of spiritual ecstasy, Dionysos. Spectacular archaeological discoveries made in Thracian lands during modern times, however, have provided firsthand evidence of this remarkable culture, illuminating Thrace’s interactions with Greece, Persia, and Rome.
Dr. Sara E. Cole holds a PhD in Ancient History from Yale University and is an associate curator of antiquities at the Getty Villa Museum in Los Angeles, CA. Before joining the Getty in 2016, she served as the graduate curatorial intern in the antiquities department of the Yale University Art Gallery, where she worked with the YUAG’s collection of ancient glass and curated the 2017 exhibition “Drink That You May Live”: Ancient Glass from the Yale University Art Gallery.
In the past three decades, curators, educators, and scholars have been actively moving archaeological materials and data beyond the physical limitations of sites and museums into the virtual space. These transitions to new media have allowed archaeologists, researchers, and students unprecedented access to the archaeological record, particularly with regard to far away, at-risk, or vanished heritage. Each of the presenters in this webinar has been successful in implementing VR and other digital media in innovative ways in order to bridge the gap between physical and virtual and to educate the public. The first presentation (Dr. Michael Zimmerman, Associate Professor of Anthropology, Bridgewater State University) focuses on the creation of two virtual environments—the Virtual Museum of Archaeology of South Caucasus (VMASC) and a virtual reconstruction of a Late Bronze Age archaeological site from the Shiraki Plain in the country of Georgia. The second presentation (Dr. Sarah Beckmann, Assistant Professor of Classics, UCLA and Deidre Brin, Director of the Digital Archaeology Lab, Cotsen Institute of Archaeology) presents a digital escape room based on Homer’s Odyssey that was created by university students for a K-12 audience. The third presentation (Dr. Adam Aja, Chief Curator, Harvard Museum of the Ancient Near East) will introduce guests to some of HMANE’s freely accessed digital assets, including its virtual gallery tours, 3D artifact scans, and the most recent addition, a Snapchat app-experience that allows the visitor to “step back in time” in a journey to the Assyrian palace of Ashurbanipal. To unite these three presentations, speakers will demonstrate how they creatively used their archaeological knowledge to develop digital tools and educate the public, including how these tools are making real-world impacts in museums, classrooms, and other settings. This webinar will be moderated by Dr. Tine Rassalle (Independent Scholar) and Dr. Debra Trusty (Associate Professor of Instruction, University of Iowa), both of whom strive to facilitate the implementation of new technologies in the study of the ancient world.
In 2019, an NSF IRES grant (#1854153) was awarded to Bridgewater State University, Ilia State University, and the Cyberarchaeology Lab at UC San Diego to engage students in interdisciplinary research of human-environmental interactions in the Shiraki Plateau in the country of Georgia. One of the key elements in this project was the creation of two virtual environments by Misha Elashvili and Giorgi Datenashvili—the Virtual Museum of Archaeology of South Caucasus (VMASC), an interactive virtual collection of artifacts from archaeological sites in Shiraki; and a virtual reconstruction of Late Bronze Age Didnauri. We hope to demonstrate future applications of this and other VR environments for archaeology.
Michael Zimmerman is an archaeologist with a PhD from the Joukowsky Institute for Archaeology and the Ancient World at Brown University, and a member of the Archaeogaming Collective, Archaeological Institute of America, American Society of Overseas Research, Northeastern Anthropological Association, Council for Northeast Historical Archaeology, the Save Ancient Studies Alliance, and the Society of Historical Archaeology. He holds an MA in Classical Languages from the University of Florida. He has worked extensively on archaeological surveys and excavations in public archaeology in Massachusetts, as well as in Israel, Jordan, and Georgia, where he is a co-principal investigator for the NSF-funded Shiraki International Multidisciplinary Research project and the U.S. Embassy Democracy Commission grant funded Crossroads Virtual Museum Project. He also serves on the Executive Board of the Northeastern Anthropological Association and the Curation and Collections Committee of the Society for Historical Archaeology. His research interests include archaeogaming and virtual technology in pedagogical contexts, antiquities trafficking, cultural heritage law and public policy, and collections-based research, and he 
In winter 2024, UCLA students, faculty, and the Digital Archaeology Lab worked to create a digital escape room based on Homer’s Odyssey. The obstacles faced by Odysseus and his crew, we decided, were excellent fodder for an immersive web-based application: an escape room brings the vividness of the text to life and introduces contemporary students to ancient Greek culture using modern technologies. Despite facing many obstacles in the course of this work (the Cyclops room in particular!), our project offers a model for how other archaeologists and educators might leverage digital applications in the classroom. Thus our talk will survey development of this project and our future goals: 1) outreach beyond the University classroom using this escape room; and 2) the development of a reusable platform so that those without programming experience can design their own escape room.
Deidre Brin is the director of the Digital Archaeology Lab at the Cotsen Institute of Archaeology and leads the development of DIG, an archaeological data publishing initiative at the Cotsen Institute of Archaeology Press. Her experience managing data while working on archaeological projects coupled with the foundation in information science and technology, support her current research on the preservation, dissemination, and reuse of cultural heritage datasets.
Sarah Beckmann is a Roman archaeologist and Assistant Professor of Classics at UCLA. Her research interests include domestic art and archaeology broadly in the early Roman empire and the late antique period. She is currently at work on her first monograph, which examines the Roman villa in late antiquity (mid-3rd – 5th c. CE). Other interests represented by recent publications include statuary collecting in late antiquity, Roman portraiture in provincial contexts, and representations of subaltern groups (e.g. women, enslaved children) in luxury domestic arts.
While physical exhibition space remains limited within the walls of the Harvard Museum of the Ancient Near East (HMANE), the digital realm provides virtually unlimited opportunities to display and explore its rich archaeological collections. Chief Curator Adam J. Aja will introduce guests to some of the museum’s freely accessed digital assets, including its virtual gallery tours, 3D artifact scans, and the most recent addition, a Snapchat app-experience that allows the visitor to “step back in time” in a journey to the Assyrian palace of Ashurbanipal.
Adam J. Aja is an archaeologist and museum curator with a background in the creative arts. Since 2009, he has managed the collection of the Harvard Museum of the Ancient Near East (formerly the Harvard Semitic Museum), where he redesigned the storage facilities, implemented new exhibits, and created replicas for display. Dr. Aja started working on archaeological field projects in 1992 and has enjoyed numerous discoveries in the years since, including the Iron Age cemetery of the Philistines at Ashkelon. He is currently the Chief Stratigrapher at the Tel Shimron Excavations. Dr. Aja’s creative projects, combining his love of archaeology and art, have included a full-scale reproduction of the monument discovered between the paws of the Great Sphinx and the creation of an augmented reality app that animates Neo-Assyrian palace reliefs.
“You come to me with sword and spear and javelin; but I come to you in the name of the LORD of hosts, the God of the armies of Israel…” declares David. Having previously rebuffed the loan of King Saul’s armor, David advances against Goliath armed only with a sling shot and five smooth stones. Goliath, on the other hand, is in full battle gear. His armament is described in meticulous detail: bronze helmet, coat of mail and greaves, a javelin between his shoulders, and a spear, whose “shaft… was like a weaver’s beam” and whose head “weighed six hundred shekels of iron…” (I Sam 17:7).
Alternatively, Prof. Mazow proposes that Goliath’s sword was an Aegean or Anatolian long sword, a “cut-and-thrust” tool that could be used to both pierce Goliath’s armor and cut off his head. The narrator, describing an instrument unknown in the Israelite weapons inventory, compared Goliath’s sword to a weaver’s sword: a blade-shaped tool used to beat in the weft. Eventually neither the weaver’s tool nor the Philistine’s weapon could be conceived, and the description comes down to us as a spear-like weapon with a shaft that resembled a type of weaving tool, a broken simile that no longer described the shape and size of the foreign object.
