As a ceramic artist, I was surprised to find that archaeological research gives little attention to the extraordinary sensorial qualities of Jōmon flame pots. To understand why, I consider the challenges of including sensory experience in archaeological method and the problems of leaving it out. Turning to the typological approach to Jōmon pottery, I highlight the assumptions it makes about cognition before introducing Material Engagement Theory (MET) as an alternative. A MET-oriented reanalysis of the typological evidence places sensation at the centre of enquiry and removes the need to interpret symbolic, representational content. Through MET, I consider the sensorial qualities of flame pots, not as prehistory but as they appeared recently and unexpectantly during the process of modelling clay into sculptures for a contemporary art project. Flame pots joined conceptually with the explorative activity of clay. A prehistoric/contemporary artefact/modelling system was created and developed itself into a method of monitoring intra-systemic experience—clayful phenomenology. The findings cover five themes: enacted agency, iconicity from indexicality, bending rules/undermining habits, the choreography of material engagement and the phenomenology of space.

中文翻译：

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全新世计划：绳文火盆的黏土现象学

作为一名陶瓷艺术家，我惊讶地发现考古研究很少关注绳文火焰罐的非凡感官品质。为了理解原因，我考虑了将感官体验纳入考古方法的挑战以及将其排除在外的问题。转向绳纹陶器的类型学方法，在引入材料参与理论 (MET) 作为替代方案之前，我强调了它对认知所做的假设。对类型学证据的面向 MET 的再分析将感觉置于探究的中心，并消除了解释象征性、代表性内容的需要。通过 MET，我考虑了火焰罐的感官品质，不是史前时期，而是最近在将粘土塑造成当代艺术项目的雕塑过程中意外出现的情况。火焰罐在概念上与粘土的探索活动相结合。一个史前/当代人工制品/建模系统被创建并发展成为一种监测系统内经验的方法——粘土现象学。研究结果涵盖五个主题：制定机构、索引性的象似性、弯曲规则/破坏习惯、材料参与的编排和空间现象学。