This article addresses things that can be described as rudimentary and vestigial; for example, an arguably out-of-place snow stake encountered in a derelict 19th-century landscape garden during an archaeological surface survey. How can one approach this stake without removing or overlooking its vestigial character? The term hyperart is introduced to develop the concept of vestigial objects. Hyperart was conceived by the Japanese artist and author Akasegawa Genpei, who defined it as ‘useless but beautifully preserved objects connected to some form of real estate’. That is, things that in one way or another have become vestigial and meaningless. An underlying link is shown between the concept hyperart and an archaeologically inspired approach to the material world. The rudimentary and detached are regarded as an integral part of the anthropogenic environment, and it is theorised that such recognition is important in depicting both past and contemporary human environments.

中文翻译：

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遗迹问题：当代考古学和超艺术

这篇文章讨论了可以被描述为基本的和残留的事物；例如，在考古表面调查期间，在一个废弃的 19 世纪景观花园中遇到了一个可以说是不合适的雪桩。如何在不去除或忽视其残余特征的情况下接近这一股权？引入超艺术一词是为了发展残留物体的概念。Hyperart 是由日本艺术家和作家 Akasegawa Genpei 构思的，他将其定义为“与某种形式的房地产相关联的无用但保存完好的物品”。也就是说，事物以一种或另一种方式已经变得陈旧和毫无意义。超艺术概念与受考古启发的物质世界方法之间存在潜在联系。