What does it mean to teach and work in a corporate university with colonial roots, today? The on-going events in Palestine – what have been described by many specialists and international organizations as a genocidal campaign – have brought to the surface the historical undercurrents, the tensions and the contradictions of such an institution as a nested sensorial assemblage of actors, memories, affects and interests. Starting from the events that happened in the context of teaching an archaeology course on social justice while a student encampment was in place on campus, in the spring of 2024, I reflect on the materiality of protest, on teaching as a transgressive undertaking and on the retooling of colonial and decolonial structures to advance emancipation. In the midst of a rather dark moment, this is ultimately a hopeful reflection.

As a Palestinian archaeologist whose work is focused on the geopolitics of Palestinian archaeology practice and theory, I reflect in this provocation article on the current devastation of the Gaza Strip by Israel and how archaeology can be incorporated into Gaza’s current situation. Pertinent questions include the following: How should archaeologists treat the ruins of the Baptist Hospital or any ruins in Gaza? What should be done with all these ruins? When does democide become genocide? Is an ex situ analysis possible? Is there such a thing as archaeology without a place? What kind of ‘regime of truth’ does it establish? What ethical implications does this form of analysis have? What kind of accountability does it possess? In what ways does it shape our memories of events?

Focusing on the late prehistoric southern Levant, we recently suggested that the diffused low-frequency distribution of large predator bones (lion, leopard and bear) coalesces into a coherent temporal pattern when observed at a sufficiently long timescale. While in the previous research we sought to determine what sort of sociocultural mechanism might explain this pattern, effectively drawing it into the orbit of the familiar, in this brief provocation, we push in the other direction, towards the unfamiliar: how can a process or phenomenon be culturally significant yet meaningless at the human and societal levels? How is a phenomenon substantial in the long term and insubstantial in the short term?

Object biography, amended and expanded by the newer and ontologically updated concept of object itineraries, is a well-established analytical tool for documenting human–object interactions. The present paper explores its intersection with art, and proposes the concept of Creative Object Biography, as a step forward in the discourse and as a means for articulating and sharing alternative narratives and imageries not only among specialists but also – and especially – with the wider public, aiming to render discussions on materiality relevant to diverse audiences. The paper uses as a case study a group of three every-day objects associated with the Vlach pastoral transhumance of northern Greece, whose entanglements and cultural itineraries functioned as the inspiration for the creation of three original short films.

To date, traditional narratives of the Late Iron Age have focused almost exclusively on discussions of the elite. These were the martial rulers and major landholders who occupied the upper strata of Scandinavian society. The lives of lower-status population groups, including enslaved and other ‘unfree’ or dependent peoples such as landless farmers, have long been marginalized in archaeological discourse. We have little knowledge of the ways in which the lifeways of subaltern peoples were shaped by the construction and maintenance of socio-political hierarchies and networks, or of how social inequality permeated and impacted the daily lives of communities. In this article, the authors propose that the concept of structural violence, developed by sociologist Johan Galtung, has the potential to offer an interdisciplinary framework for multi-proxy studies of (bio)archaeological and textual data.