Introduction

This course will explore a wave of cultural, technological, and social issues rippling outward from the Whole Earth Catalog–first published by Stewart Brand et al. in California in the late 1960's. Its Access to Tools theme creatively nourished an international counter-cultural movement and continues to resonate decades later: foreshadowing the internet; arming citizens with diverse strategies of cultural and DIY engagement; fortifying alternative patterns of living; launching pragmatic exploration of old and new technologies; and promoting meaningful response to climate change and ecological crisis. The Whole Earth Vision seminar will combine study of these diverse trends—from the 60's to the present—with in-class development of interdisciplinary, student-driven projects.  This will be an engaging class for artmakers, art history students, humanists, drop-outs, ecologists, social practice aficionados, and all would-be agents of global change.

Welcome class,

   I will be assembling a complete email list, including those who have contacted me, but are not yet registered. Let me know if you know of others who still might register.  This link will take you to an electronic version of the 1968 Whole Earth Catalog. Please begin reading and identifying areas of potential interest and research. There is ample online information discussing the catalog and its extended legacy. There also are later editions of the WEC that are available online and through second-hand booksellers I encourage you buying one.  Enjoy exploring this resource!

The Whole Earth Catalog opens the door to endless array of topics. Beginning to formulate specific avenues of research is important. Collectively, we can further shape these research projects, and begin to formulate additional projects and activities that will take place over the course of this seminar.  Along with the first Whole Earth Catalog--I'm planning on repeatedly visiting historical links from 1960s and early 70s that still resonate today. This is not a survey class, or history class but a group driven research and project seminar that will jump back in forth over a 50 year span roughly 1970 to 2020.  More discussion on how this takes shape will follow..

I'll send an invite to each of you to become a blog "author" at this Whole Earth Vision  blog site. This will require you to have a Google account. I assume most of you do. If you don't--they are free. If some of you are ideologically allergic to Google and its empire--I sincerely apologize. Perhaps we can find a simple way to work around it questioning our use of technology and access to tools is central to our discussions here. For now it's handy to have a single point of reference.

On the blog you'll find links to the readings, videos and class related communication.

Each of you will become a blog author, meaning you can post and edit your own contributions and read everything else. I encourage each of you to begin by creating a post (your name as post title) where you can start to outline your interests and research ideas. Starting with only a few sentences or an image is fine. Your posts can then be easily referred to in discussion. Also you can post related/peripheral things you find relevant.  Don't worry about polished content at this point.

Over the span of the class each person will be defining and presenting a research topic (early in the semester), and a project (second half of the semester). I am very open and flexible regarding the shape of these two things. There are some samples of work archived in this blogger site that were generated the first time I offered this seminar in 2017.

As an initial introduction to the WEC please watch HKW Berlin Whole Earth Catalog exhibition keynote address by Fred Turner

Warmest Welcome,

Dan ( dp )

Back to the Land Road Trip 2019! Trip planning communication

HI All,    

Reminder to dress for the Weather!   Forecast in Michigan is for overcast Saturday with good temperatures--not too bad.  Grab umbrella and rain gear just in case. 

In Addition to things I've mentioned, we will swing past an Aquatorium on the historical register, and have an appt with House of David Museum and hopefully we can squeeze in a visit to the Morton House Museum too.  Really full itinerary.. 

I'm picking up van today and will plan for 8am arrival  tomorrow at 400s Peoria.  

Please show up 8am or 8:15 so we can grab coffee, get organized and really depart at 8:30!

En route!

-----------------------------------------

Hi All,

Gather your bedroll and toothbrush. The Back to the land road trip to Benton Harbor is coming up NEXT WEEKEND and will be a rich and action packed few days!  

We'll be visiting natural dune landscapes, industrial zones, the most polluted river in America, a superfund remediation site, organic farm, local history museum, surprising landmarks, a cannabis enterprise, and more.  


The basic plan is to leave Saturday September 28 at 8:30am from 400 S. Peoria,  We will be staying overnight at Tony Tasset and Judy Ledgerwood's Michigan live/work compound. This includes room to pitch tents, floors to spread out camping mattresses and sleeping bags on, and access to bathrooms etc. and includes a complimentary breakfast by Tony! Yay! (in other words rather civilized roughing it)  

We will return Sunday September 29 no later than 9pm.  Drop-off at same location. 

We should be able to accommodate a few guest travelers in our 16 person van. (I've been asked by a few of you if this is possible)

I look forward to discussing details and options in class on Monday--and listening to a few research presentations. 

Have a great Sunday evening!


dp

Yard 520 Superfund site, Town of Pines, Indiana

https://ashtracker.org/facility/37/yard-520-restricted-waste-site

https://cumulis.epa.gov/supercpad/SiteProfiles/index.cfm?fuseaction=second.ars&id=0508071&doc=Y&colid=3699&region=05&type=AR

https://semspub.epa.gov/work/05/508886.pdf         Decision of Record

Earth's Lost Key

“Got to plumb! Plumb the depths … the depths of hell.” (Larry David) 

As a scientist, I just want to tell you how it is. It's too late to be ready. And I am going to write in the language of this world. A simultaneous preservation and expansion of possibility. I hid up in a tree, not noticing the fire ants. Adding variety and complexity; retarding society’s decay. Black coffee. Resisting being addled, repelling accelerando. Cage-free. Waiting out the search party on a bench. Inspiration from nature is clutch but responses vary. Some blame men, but who is a man? What is a man’s gender, or perhaps his sex? Nature as reference. Aryan children running through managed forest while Eric Dolphy practices intervalic leaps with backyard birds, later taught to Coltrane at the Village Vanguard. The thing we call nature is an unreliable narrator. My grandfather, a certified Master Gardener with no taste for the unruly. Supposed nematodes. Select a framework while everything is happening now everywhere. But again we see the weakness of executive action. Never been so sure of anything. Think backward to see what might arise from what has already been done. You see one redwood, you’ve seen ‘em all — in a Buddhist sense, at least.

Human Nature is metal. Think backward. Before we jump to the future, let’s attend to the past, which is still our present. In the 1960s, a group of people could be labeled variously depending on the point one wishes to make: counterculture freaks, iconoclasts, techno-utopians, mostly white men. Meanwhile, in our society we face not only persecution of people with diverse expressions of gender and sexuality, but also the prospect of doing permanent harm to the integrity of the gene pool of our species, thereby damaging our species for posterity. Towards the end of Twin Peaks, a character acknowledges living in a dream, “but,” they ask, “who is the dreamer?” Language is a word that points to an activity. I am in the air, spewing problems. Floods and droughts, too much heat unless there’s too much cold. If we’re not aliens, how come we’re never quite comfortable? Hillary reformulated the rhyme about killing Mohammad Gaddafi for nationalizing his country’s oil. Come as you are. Behold, I stand at the door and knock. If anyone hears my voice and opens the door, I will come in to him and eat with him, and he with me. Why not allow poetry to provide refuge for those neglected by the system?

Begin to gather around a set of material ideas. To see what cannot be seen due to its felt familiarity requires a forced estrangement. Certain languages were deemed excessively colonial or silly and subsequently banned. Palm trees do not mitigate climate change and shall not be planted any longer. Not that I am innocent, with my organized desire for vengeance. I am reading to you now, writing these words now, reading to you now, you, the consequence and target of my current now, which is my current now. From an interview with an anonymous CIA covert operative, I learned of an alleged case involving the military dropping disease-infected ticks over Cuba in the sixties to infect sugarcane workers. The female becomes even bigger than the male after transforming. The researchers acknowledge that the complex science of tipping points means great uncertainty remains.

To discourage venery, closing the bedroom door on the television set. “I am retreating into silence as a defensive mode,” he mentioned. More than that: they ceased to exist. If we abandon or indulge our bodies, sickness comes, and attachment to it increases. There are Muses for the several sorts of writing, but none for any kind of reading. Failures come when the recursive form cannot generate its consistency.

What difference does any of this make if we can’t communicate it to the people who matter? Manifestos derive their authority from the religious missive. The pathetic mess of vocab-morality as politics-replacement The fasten seat belt sign is still, and will for now on always be, illuminated. Where the keys were left at the top of the hill. Losing the key at the moment you go to find it or worry it’s lost – is itself the key. What kind of arrangements of truths fit the varied encounters of daily life? In which stage of the brain should we store them? Francisco Varela investigated his own subjectivity while dying of liver cancer. So what is to be gathered, hunted? It is often the case that crises strengthen a system in doubt. The smell of fruit drawer rot. To carry on in the face of all this is ridiculous. There is nothing more terrifying than stupidity. Sympathy beyond the confines of man, that is humanity to the lower animals, seems to be one of the latest moral acquisitions. 

I do hope we are wrong, but as scientists we have a responsibility to explore whether this is real. Do not fear what you are about to suffer. 

I am not injured by what is necessary; amor fati is my innermost nature.

Grimes' Fraught Riverboat Adventure

"Claire Boucher and William Gratz had their sights set on the southern reaches of the Mississippi River when they packed their chickens, a sewing machine and 20 pounds of potatoes into a houseboat they crafted from scratch."
http://www.startribune.com/this-boat-don-t-float/49134952/?c=y&page=all&prepage=1#continue

An instructive tale for Graham! Sounds like there's a few factors to consider...

Critical Art Ensemble

Here is a link to/ blurb about the Critical Art Ensemble that Dan mentioned in class.

(CAE) is a collective of five tactical media practitioners of various specializations including computer graphics and web design, film/video, photography, text art, book art, and performance.

Formed in 1987, CAE’s focus has been on the exploration of the intersections between art, critical theory, technology, and political activism. The group has exhibited and performed at diverse venues internationally, ranging from the street, to the museum, to the internet.

Envisioning and Designing the Floating Future

Here is an article about some work being made dealing not with earth but water and ecology.

Belching Smokestacks, Blooming Buds, and Fuzzy Bugs- Photos from Our Trip

Cybernetics and the systems music of Brian Eno

https://www.thefourohfive.com/music/review/review-discreet-music-saw-brian-eno-testing-the-waters-of-ambient-154

https://reverbmachine.com/blog/deconstructing-brian-eno-music-for-airports

"Employing" Skill To "Teach" Techniques in Jewelry- Through a Commission

By: LaMar Gayles

Expanding from my project on Archaeogemology and initial research on Gemology as a social practice, I employed a local Chicago Heights metal sculptor and forklift driver named Eric Suderow to create a piece inspired by his series of  sculptures titled Iron Men which loosely pulls from the robotic imagery of several early counterculture films such as Iron Giant (which was made in a regionalistic style) and The Terminator. The purpose of the commission from Suderow is the produce an object which pulls from from the ideologies and epistemological frameworks surrounding found steel and gemstones in the late twentieth century in the United States. In this period persons were beginning to once again appreciate gemstones for their metaphysical prowess and this became popularized, simultaneously found metal became a popular material in art to showcase the overabundance in debris caused by commercialization and mechanical pollution. The product of this collaborative commission conceptually constructed by myself, but physically made by Eric Suderow is a metal pendant which consists of a pair of his signature steel robot-like hands latching onto a piece of purple chalcedony a stone often associated with natural meditation, which alludes to the developments of man-made spiritual objects which were used to amplify natural materials like stones. 

In this short article we shall review parts of Suderow's process in order to gather a sense of reflexivity for the project and to provide a space for technical reflection and commentary. 

The artist begins with a sketch on paper and then translates the design to a thick sheet of found steel ,

Suderow estimates the approximate spacing he will need to set the stone. It is important to note this is his first time attempting stone setting a difficult jewelry making process. He intuitively understood the complexities of spacing and the level of pressure/precision needed to set a stone in place properly.

He utilizes industrial metalworking tools in his practice for sculpture and uses the same when making a piece of jewelry. Eric is approaching jewelry-making and stone-setting the eyes of an experimental sculptor who works in metal and carved/sawed media. In this image we see a pre-soldered hand being held in place by an vice while Suderow cuts divots into the respective fingers. 

After cutting in divots to allow the fingers opposability Suderow solders the hands together in order to craft the rough form of the desired finish piece. In addition, during the soldering process as he puts it he is attempting to "color the metal with fire" which "trained" metalsmiths call "flame patina".

By using a metal cutting rotary tool Suderow refines the soldered form of the metal hands and to add opposability.

Image of Suderow fitting the stone in a the work in progress steel setting. The piece is coming along and will have aesthetic bolts added as a mode of connecting to Steampunk Counterculture, which is something Suderow is interested in.  

Image of Suderow fitting the stone in a the work in progress steel setting. The piece is coming along and will have aesthetic bolts added as a mode of connecting to Steampunk Counterculture, which is something Suderow is interested in.  

Image of Suderow fitting the stone in a the work in progress steel setting. The piece is coming along and will have aesthetic bolts added as a mode of connecting to Steampunk Counterculture, which is something Suderow is interested in.  

In Chicago: Where do Gemstones Come From?

In Chicago: Where do Gemstones Come From? The Story of Two Gemstone Stores (My Personal Pick)

  Last week during my presentation, I was confronted with a  simple question as to where gemstones come from and how do they get to their locations in Chicago. That said, I was totally caught off guard at the fact I couldn't simply answer this question. I needed a bit more time to explain the complexities of gemstone sales in the Americas and how the issues aren't simply with extraction from the source which leaves an environmental impact, it too is with the costs of labor at the mines in question and the politics of the spaces in which gemstones are sold in the Americas

Most of the time if you live in mineral rich areas (unlike Chicago) you can go panning (which involves going to gemstone site and going through "pre-shifted" gravel), a gemstone dealer, the mine itself, or in the already dug trenches where the gemstones are. However, internationally and in the US mining practices are highly unethical in terms of environmental devastation, but some are attempting to at least be ethical in terms of paying workers.  YET MANY MINES STILL UNDERPAY WORKERS.


In Chicago (and the broader area for the people who think the "other places' where the CTA hits aren't the city) there are under ten gemstone stores which would be the area's only means of buying stones aside from online sales.

The remaining of this article will describe my experiences in two of the gemstone stores in Chicago and explain their unethical or ethical practices. One will be a negative case study and the other will serve as a positive one.


Dave's Down To Earth Rock Shop (NEGATIVE STARS AND WILL NEVER GET MY BUSINESS AGAIN)

This is one of the oldest gemstone stores in the Chicago area and also serves as a SMALL museum of dinosaurs, fossils, and pre-historic life. The store is situated in Evanston on Main St. and recently relocated across the street from their original location. I have a long history with this business as a consumer of semi-precious and precious stones. From the age of twelve and up I have gone here to do some of my "gem hunting." However, it wasn't until very recently that I was able to explain the energy I feel in the store and articulate how this is perhaps one of the most problematic gemstone businesses in the city.

First, the stones sold at Dave's come from different lapidaries, gem hunters, and collectors meaning their locality is wide which can be both positive and negative. Even though some mining locations for certain stones being highly politicized the store does not shy away from taking gemstones from dangerous or unethical sources.

The staff in the space are not pleasant to Black presences, even though I have gone here since I was a child I feel extremely isolated in this space. Upon entering I am not greeted at the door, but instead followed around the store, needing to inquire for assistance. Yet, when a white couple walked in, or a White mother and her child, or a group of White teenagers they were all separately greeted and OFFERED help around the store. It wasn't until my second visit for field work that I was greeted with an employee who did not patronize me. This isolates certain audiences from the store and makes them feel like they can't come inside. The owner assures me and other Black customers they aren't racist. Yet, I understand he might not be, but the store promotes a policy which seems to glorify retail based racism and does not do a great deal for Black customers. Another instance is that White customers, (I hear) often receive information on the stones the buying even if they are super inexpensive, but when I spend a larger amount of money on a stone I almost have to pry information aside from locality from the employee who is selling to me.

They have terrible gemstone quality assurance.  Due to my many years shopping there, one practical concern of this space as a gemstone supplier is their tendency to "overlook" the quality of certain gemstones. For example, there have been at least two separate specimens I purchased from the store that were glued back together and a third piece that have a 360o fracture. That said both times when I reached back out about the lack of care on their part, they simply lifted the store no-return policy for me and gave store credit or the appropriate refund. Then, I thought what about he people that "can't" return their items if they are defective stones.

Overall, Dave's Down To Earth is a place where northside people go to learn about stones, it takes a whopping two hours by train to arrive there from Hyde Park. On several occasions the store has had the chance to support Black-jewelry projects, but only chose to support by offering sales. The staff, do not treat all patrons with the same respect, and the gemstone "sourcers" do not "care" about locality and quality to highest extent.

Image of a purchase from 9/23/2019

If you look at this illuminated image of the back you see a small hairline fracture. 

We can see this fracture stretches to one side of the stone. 

It also stretches to the other side of the stone. Indicating who picked it either did  not care about the stone or its quality. 

Precious Possessions LTD. 

Located near Jeweler's Row, Precious Possessions is a directly Chicago gemstone store. On the surface they might seem to be an overpriced version of Dave's but Precious Possessions is a bit more than that. I have had the honor or shopping here since I was twelve and know the owners. The store promotes more-so metaphysical knowledge about stones and follows different practices than Dave's. 

Precious Possessions does a great deal of quality assurance. From the obscene amount of stones I have bought from the store, never have I had to look greatly for quality. This is because the persons who do selection of gemstones are actively looking for imperfections and will not take stones with major issues. 

They do not take all sources for gemstones. The store actively does not have gemstones from more politicized  locations like Afghanistan and Iraq, and when it comes to stones like tanzanite with problematic entanglements they attempt to source only humanely. 

Secondly, the staff treat everyone that comes in with the highest respect. I've spend plenty of Saturdays at Precious Possessions and ever since I was a child I have never seen the couple who runs the space turn away anyone even members of the transient communities. (At Dave's There Is Effort To Keep Certain Persons Out.)

Overall, Precious Possessions is more accessible in terms of train and actually entering the space. The store promotes a more welcoming aura and makes persons want to walk in, versus at Dave's where you might feel as if you are taking up someones time. 

Google map pics of Grand Calumet River Headwaters and Environs

Google map pics of Grand Calumet headwaters in Gary, Indiana and Miller Beach Indiana





dp

Implementing Experimental Archaeology To Practice Cultural/Social Archaeo-Gemology

 
Project: 
 By: LaMar Gayles

By collaborating with a local steel worker and forklift driver in the Southland area of Chicago Heights who works with found metal in his everyday life, I hope to commission a piece of jewelry which examines process in "DIY" art practices while too exploring the cultural, historical, metaphysical, and social histories of the materials being used in the project. Specifically, the DIY artist was given a piece of "Nevada Purple" Chalcedony which he will use to produce a jewelry object which draws inspiration from his previous creative expression in metal. This practice of creative collaboration, critical interpretation of materiality, and attempts to create objects inspired by historical moments (historical reproduction) pulls from the field of Experimental Archeology which seeks to utilize such methodologies as a mode of experiential interpreting artifacts and their meaning. By doing this I hope to draw connections between the DIY movements in the twentieth centuries and their descendent traditions in the present day. Finally, this project aims to illustrate the Post-war appreciation and re-invested fascination with a metaphysical  consumption of gemstones. Through this project I hope to redevelop what is currently known as Archaeo-gemology to consider more experiential and interpretive methodologies as the field is stuck in a proclivity to only analyze gemstones through quantitative methods and stylistic taxonomies.

Images from creative consultation with local Southland Chicago Area Artist, Eric Suderow. His sculpture The Iron Man pulls from several 1990s Counterculture films including  Iron Giant.

Background Information On Chalcedony: 
Found throughout many parts of the world in different colors Chalcedony is a mineral and semi-precious gemstone, which has been implemented in the artistic, cultural, and sartorial practices of many different groups reaching back to at least the New Kingdom of Egypt and still today. This particular example of a purple Chalcedony (a variety common in parts of the Western United States specifically in California and Nevada) is a cabochon which is sizable in karat weight (around twenty-eight karats) and with a precisely defined shape and a well polished oval shape. Inside of this stone is an inclusion of a peculiarly large amount botryoidal, which is a natural juxtaposition anomalous to many researchers in the field of mineralogy. This particular specimen was found in the American Southwest (specifically a small mine in Nevada) and was crafted by lapidary (gemstone-carver or practitioner of glyptic art) C.P. The glyptic (carved gemstone or lapidary) artist chose to form the piece into a cabochon (a smoothed top carved stone with curving smooth bottom.)
This stone embodies centuries (perhaps even millenia) of varying cultural practices around the world from spiritual, religious, and metaphysical, scientific and commercial. Chalcedony has been utilized for artistic, expressive, and industrial products for centuries and is known to have a wide range of social associations.  In his text (the earliest historically documented treatise on gemstones) Natural History Book XXXVII, Pliny the Elder describes the properties, names, and characteristics of numerous gemstones that were known to persons in Ancient Greece. Pliny describes Chalcedony as a stone which provided itself to craftspersons in Ancient Greece, Rome, and Egypt as a precious material meant for jewelry and spiritually potent (powerful) enough to serve as amulets against powerful negative forces. Pliny also acknowledges that this material was commonly used for cameos (carved/relief tradition on gemstones) by these same groups. Archaeologists, have proven through mineralogical testing that these same stones were utilized to make spear tips during the Bronze Age in Rome.
The lapidary Christopher Peek carved this object with consideration for its metaphysical prowess as outlined by scholar Albertus Magnus in his text the The Book Of Minerals which outlined the majority of the current West’s epistemological frameworks (ways of being/embodying and using) gemstones in cultural practices.  Albertus referenced chalcedony as a stone which promotes winning and prosperity, while “preserving the powers of the body.” Understanding the way Chalcedony (like other gem-materials) was to be endowed fantastical or metaphysical powers to promote well-being.
  This specific stone (a dark lilac or lavender variant of Chalcedony) has an  aura that evokes an overwhelmingly calm energy as it is held in the hands of a viewer, which in turn produces a sense of serenity as well as a cold touch. The specimen is subtly cloudy, yet has a strong translucens which allows light to shine through the dark veil of botryoidal.
The stone was acquisitioned by gemstone collector and conceptual jeweler LaMar Gayles for an experimental project on metaphysical jewelry and its evolution during the “DIY” (Do It Yourself) counterculture era (circa 1940s-90s) in the United States of America.

Visual Research: (Images of Similar Artist's work) 

Rhonda Wheatley 

FULL TITLE: Empath Protector. Helps empaths create healthy energetic boundaries so that they may clearly distinguish their own emotions, needs, and desires from those of others.

MEDIA: Vintage mannequin hand, wooden beads, natural fluorite crystal octahedrons, and acrylic paint.

YEAR: 2017

(Borrowed from artist's website at https://www.rhondawheatley.com/new-page) 

INSTALLATION TITLE: Elixir Stills and Cure Bottles. Activate by gazing into jars and bottles. Gazing must be 100% voluntary. 

INDIVIDUAL BOTTLE TITLES:
Radical self-acceptance elixir (formulated for self-esteem issues)
Self Love and acceptance elixir (calibrated for the self-hating)
Discernment for empaths; cure for poor boundaries
Elixir for relinquishing the need to control situations and other people
Find your power; cure for those easily taken advantage of
Perceive inner beauty; cure for fixation on outer appearances of self and others

GENERAL MEDIA: Healing intent and energy, incantations, moss, flower petals, herbs, sea horses, cicadas, snake bones, snakeskin sheddings, sea shells, sand, wasp nests, succulent plants, various crystals, including amber, mica flakes, and pyrite, and more.

YEAR: 2017

(Borrowed from artist's website at https://www.rhondawheatley.com/new-page) 

These two artworks were made by Chicago artist Rhonda Wheatley who often utilizes natural materials like stones to reflect on their metaphysical prowess and abilities.


Daniel Pope 

Flower Crown (Borrowed from http://luna.lib.uchicago.edu/luna/servlet/detail/UCHICAGO~6~6~630~1262864:Crowns-and-Medallions?sort=creator%2Cculture%2Cdate%2Cstyle_or_period&qvq=q:pope;sort:creator%2Cculture%2Cdate%2Cstyle_or_period&mi=87&trs=620)

Images of Daniel Pope
(Borrowed from https://luna.lib.uchicago.edu/luna/servlet/view/search?q=Daniel%20pope&sort=creator%2Cculture%2Cdate%2Cstyle_or_period&os=0)

Image of Cross-like Crown
(Borrowed from https://luna.lib.uchicago.edu/luna/servlet/view/search?q=Daniel%20pope&sort=creator%2Cculture%2Cdate%2Cstyle_or_period&os=0)

Daniel Pope also known as The Sandman, was a Chicago artist connected with the Black Arts Movement and made fantastic wearable regalia from found jewelry in Chicago's South and West sides. The jewelry he gathered was found through a practice he undertook of cleaning the streets of the neighborhoods he roamed.

Sources: 

 https://luna.lib.uchicago.edu/luna/servlet/view/search?q=Daniel%20pope&sort=creator%2Cculture%2Cdate%2Cstyle_or_period&os=0

https://www.rhondawheatley.com/

Strand, Eva. (2010). Experimental Textile Archaeology.

Lüle, Çig
dem. 2011. "Non-destructive gemmological tests for the identification of ancient gems".
Gems of Heaven / Ed. by Chris Entwistle and Noël Adams. London : British Museum. 1-3.

Interview:
Lüle, Çig
dem (Archaegemology and the Field), LaMar Gayles via email, March 23, 2019.