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Digging-Deep
"Digging-Deep" is an excavation of the archaeological site called "John Sabol". It is an unearthing of the author's memory of experiences ofpast presences that cuts across space, time, and culture. Water, mining operations, dust and dirt, dogs and wolves, and ghosts are seen as important features that are re-covered from these memory excavations. Some of the re-called practices that are unearthed include an alternative remembrance of "trick or treat", the multiple symmetrical worlds of history, myth, and ghosts in Winchester, England, the haunting nature of archaeological excavations and field surveys, the actor's encounters with more than a filmed "death scene", and a search for a legendary monster in Arkansas. All of these memories are perceived as symetrically-interrelated though they originate in different places. They are viewed as a form of "theatrical ghosting", a resonating element that unfolds time, as events and activities are framed by their contemporary significance in the author's life. In this process of excavation, a re-curring haunting drama manifests in the life of this archaeologist, who also happens to be a cultural anthropologist, actor, and "ghost excavator".
The Good Death and the Civil War
All battlefields are haunted by the memory of what occurred there. Some, however, are haunted by more than remembrance, memorialization, and heritage events. There are American Civil War battlefields that remain “active” with the ongoing manifestations of past military behaviors. A theory of American Civil War battlefield hauntings is presented here, tied to mid-19th c. concepts of (and belief in) a “good death” and the importance of home and family. Fieldwork exploring these ideas shows, in many battlefield manifestations, a direct relationship between these concepts and battlefield interactive hauntings.
The Production of Haunted Space
The production of space is a view of landscape as a process of creating and negotiating social interactions within particular spaces. What remains of past productions are the traces and vestiges, as cultural expressions or “signs” of these productions. A “ghost excavation” works with what remains of these past productions. This is achieved through an analysis of the structure and process of past social construction. Fieldwork involves the recovery of an “afterlife semiotic system” (or “haunting”) of what remains from those past productions. The “ghost excavation” is an alternative, non-paranormal, analysis of haunted space.
Ghost Excavator
This book is a ghost story, meant to be read on cold, dark, windy, and snow-covered wintry nights. These are not traditional tales of haunted houses, but rather are personal narratives of cultural hauntings of long forgotten histories of ethnic struggles, and Native American beliefs. It is an image of a landscape (and its people) that goes far deeper than the mere surface manifestations of ruined and abandoned structures, and the bits and pieces of broken dreams and aspirations. This is a different kind of embedded narrative. It is an excavation that penetrates to the very heart of ghostly drama. Experiences, conceptualized as a form of haunting, provide a framework for the recall of various...
Bodies of Substance, Fragments of Memories
Ghost Research is archaeological work that requires specific field practices. This book introduces the investigative techniques of a "ghost archaeology". This is defined as a scientific discipline of the "ordinary", a search for the repetitive patterns of cultural behavior that can be unearthed during an field investigation. Six case studies of cultural hauntings are presented which illustrate the usefulness of archaeological methodology and techniques in field research. The investigation of ghostly presence at Gettysburg, in the anthracite coal region, at Eastern State Penitentiary in Philadelphia, and a Civil War haunting in Petersburg, Virginia are cited. These investigations show how potential evidential data can be uncovered, if only the investigators would maintain an archaeological sensibility in their fieldwork operations.
Beyond the Paranormal
This book is a history lesson. It is about “ghost excavations” at four haunted sites and what we learned from the experience. The objective is pure and simple. It is to show how, by questioning basic tenets of a “ghost hunting” paradigm, we can go beyond the contemporary reality of a field that is entertainment, and entertaining, and arrive at an investigative position of constructive research. In the process of this “excavation”, we learn what it was (is) to be and remain human.
Centralia, Pennsylvania
Robert Lewis Stevenson once remarked that some landscapes cry out for a story. Centralia is one such landscape. These are the stories that were inspired by what happened there and the lack of presence in the landscape today. These are fictional accounts of Centralia's history that serve as a counter-current to the real dangers of anthracite coal mining. There are fictional accounts of vampires, dragons, and other supernatural beings that lurk in the abandoned mine shafts beneath the town of Centralia. They form in the imagination of various authors and represent a different version of the Centralia landscape.
The Absence Above, a Presence Below
There are multiple presences of the past that are embedded into the Centralia landscape. Even in the absence of a social community, Centralia remains a place of continuing occupation. At present, there are multiple representations of this occupied place, many of which, however, denote negative imagery (“Hell on Earth”). An alternative approach to what remains of Centralia is presented here. A site-specific performance, digging deep to “unearth” the multiple layers of a coal mining community, is explored.
Digging Up Ghosts: Unearthing Past Presences at a Haunted Location
There are many ways of understanding and documenting the remains of past material presence in contemporary society. One is archaeology. We understand and document remains through contextual excavations. Another is anthropology, accomplished by our participation-observation practices when we immerse ourselves in other cultures. Still another is performance studies. The past is revealed through a "theatrical ghosting" and fictive memory practices. In a "ghost excavation", I use all three disciplinary approaches to unearth interactive past presence. The recovery process of this "dead presence" is achieved through a "P.O.P." (Participate-Observe-Perform) methodology, organized around "immediate ...
Centralia
We must respect the ruin and its presences for what they were. As we enter someone's familiar space, we must not bring an unfamiliarity to our exploration and expectations. Once inside that landscape, we are crossing perhaps multiple temporal and social boundaries. Space and time, as two fragmented walls, can inhibit our interactions with someone else's experiences and memories of that place. This is Centralia, as it was, and as its remains are visualized today.
