HOLTORF, C. 2007. Archaeology is a brand! Oxford: Archeopress. HORTA, M. DE L. P., E. GRUNBERG & A.Q. MONTEIRO. 1999. Guia ba ´sico de educac ¸a˜o patrimonial. Brası ´lia: Instituto do Patrimo ˆnio Histo ´rico e Artistico Nacional/Museu Imperial. JONES, S. 1997. The archaeology of ethnicity. London: Routledge. LATOUR, B. 2000. Introduc ¸a ˜o: abrindo a caixa de Pandora, in Cie ˆncia como ac ¸a˜o: como seguir cientı ´stas e engenheiros sociedade afora. Translated by I.C. Benedetti. Sa ˜o Paulo: Editora Unesp. LEROI-GOURHAN, A. 1971. El gesto y la palabra. Translated by F. Carrera D. Caracas: Ediciones de la Biblioteca de la Universidad Central de Venezuela. MERRIMAN, N. 2004. Introduction. Diversity and disso- nance in public archaeology, in N. Merriman (ed.) Public archaeology: 1-19. London, New York: Routledge. PE ´ REZ, A.L. 2007. Escola indı ´gena: uma reflexa ˜o sobre seus fundamentos teo ´ricos, ideolo ´gicos e polı ´ticos. Perspectiva jan./jun.: 227-44. RENFREW, C. & P. BAHN. 2008. Archaeology: theory, methods and practice. London: Thames & Hudson. SHANKS, M. & C. TILLEY. 1982. Re-constructing archaeol- ogy. London, New York: Routledge. TAYLOR, T. 2007. Screening biases: archaeology, television, and the banal, in T. Clack & M. Brittain Archaeology and the media: 187-99. Walnut Creek: Left Coast. TRIGGER, B. 1984. Alternative archaeologies: nationalist, colonialist, imperialist. Man 19 (3): 355-70. THOMAS, J. 2004. Archaeology and modernity. London and New York: Routledge. UNESCO. 2005. Convenc ¸a ˜o sobre a protec ¸a ˜o e promoc ¸a ˜o da Diversidade das Expresso ˜es Culturais. Paris: UNESCO. - 2003. Recomendac ¸a˜o Paris. Paris: UNESCO. ZARANKIN, A. 2001. Paredes que domesticam: arqueologia da arquitetura escolar capitalista: o caso de Buenos Aires. Unpublished PhD dissertation, Universidade Estadual de Campinas, Campinas. ZARANKIN, A. & M. X. SENATORE. (orgs.) 2002. Arqueologia da sociedade moderna na Ame ´rica do Sul. Cultura material, discursos e pra´ticas. Buenos Aires: Ediciones del Tridente, Coleccio ´n Cientı ´fica. Further Reading FERREIRA, L.M. 2005. Solo civilizado, cha ˜o antropofa ´gico: a arqeuologia imperial e os sambaquis, in P.P.A Funari, C.E. Orser Jr. & N. de O. Schiavetto (ed.) Identidades, discursos e poder: estudos da arqueologia contempora ˆnea: 135-46. Sa ˜o Paulo: Annablume/PAFESP. FUNARI, P.P.A. & A.V. DE.CARVALHO. n.d. Cultura material e patrimo ˆnio cientı ´fico: discusso ˜es atuais. SAID, E. 2003. Orientalismo: o oriente como invenc ¸a˜o do ocidente. Translated by R. Eichenberg. Sa ˜o Paulo: Companhia das Letras. Materiality in Archaeological Theory Carl Knappett Department of Art, University of Toronto, Toronto, ON, Canada Introduction Materiality is so enmeshed in our everyday exis- tence that it has a kind of impenetrability. We are in touch with it so intimately that it vanishes. And yet of course it is always very much present. As I write, I sit on a Greek “kafeneio” chair, a simple wooden frame with crisscross rope that leaves its pattern on my legs, at least when I am wearing shorts. The wooden table is simple plywood on dexian. The table, the chair, the wooden floor, the computer, the ceiling fan, the dust, the coffee cups: together they are touched, seen, heard, smelled, and tasted, and somehow despite all these senses at work they go largely unnoticed. Writing brings them momentarily to the fore, though there are other ways too in which they can be made to appear. Many contemporary art- ists bring the artifacts of the everyday into pres- ence by creating new kinds of encounter with them – from rendering them oversized, as in some of the work of Claes Oldenburg, or at min- iature scale as in Slinkachu’s almost invisible street scenes, or through redisplay (e.g., Jeff Koons). Sometimes, dramatic events can make the everyday appear to us in a very different light, as, for example, with the house interiors of New Orleans damaged by the floodwaters from Katrina (Wilford 2008). And these two can even come together when contemporary artists redirect their practice in the aftermath of such events, as with the “Floodwall” of Jana Napoli, or the pho- tographic reportage of artist Robert Polidori (Fig. 1). These can help us briefly experience the elusive sense of materiality that is part of our everyday lives. Arguably, it is the constant exposure to thou- sands of commodities in the twenty-first century West that forces a kind of drawing back from the M 4700 Materiality in Archaeological Theory