The following articles were authored by Mary

Antietam, Audio – Rohrbach (Burnside) Bridge – Examples During A “Ghost Excavation”

June 2011 Ghost Excavation at Antietam:

Background: John Sabol, along with the team, were preparing a scenario of the charge at Rohrbach Bridge (Burnside).  As you listen, you will note that none present were aware of the question.  Audio example – Captain question – Confederate Side Rohrbach Bridge – Mike S.

Background: After the scenarios with the men were completed, John Sabol had the women do their scenarios.  [This is due to the fact that no women were present during the battle at Rohrbach Bridge.] For this scenario Mary Becker portrayed the wife a surgeon reading an actual letter he sent to her (his wife) regarding the battle.  Much activity occurred while reading the letter but this was quite amazing.  You will hear Mary’s voice at the beginning, then the voice(s).   MaryReading-male voices

(Credit for both audios — Investigator Mike Stevenson)

 

 

 

 

The C.A.S.P.E.R. Symbol and Meaning

This is the symbol for C.A.S.P.E.R. It signifies the symmetry of a haunting:  a search for something that is still unknown, but something that is very cultural in nature.  Casper is a natural state, not paranormal manifestation.  It illustrates the “humanness” of a haunting.

It is also the Mayan Glyph for “Casper” the 2nd ruler of the city of Palenque in Mexico (422-487). The real name of the ruler has not been deciphered. He was given the “nickname” by Mayanist Scholar, Floyd Lounsburg because his name glyph resembles the cartoon character Casper, the friendly ghost.

This is an appropriate symbol for a Research Center devoted to the excavation and unearthing of interactive ghostly presences at archaeological  and ethnographic haunted locations.

Temple of the Inscriptions, Palenque, Chiapas, Mexico (1970)

Temple of the Inscriptions, Palenque, Chiapas, Mexico (1970)

This is where John did some archaeological survey work in the surrounding jungle during the early 1970s.

The Ghost Within Symbol

Theatrical ghosting – this is the basis of our cultural scenarios.  This drawing was created by Melissa Sabol to illustrate the idea.  For more information on theatrical ghosting, please see John’s book “Digging Up Ghosts:  The Archaeology of the Interactive Past”.

Gettysburg – Archaeological Movements and Monuments at a Haunted Location: The 15th Alabama At Little Round Top – Yesterday and Today

At a recent TAG (Theoretical Archaeology Group) Conference in which I spoke at the University of California, Berkeley (May 2011), one session explored “the spatial, temporal, human, and non-human dimensions of movement in the patterning, timing, and causation of co-presence of various pasts in its materializing traces”. This session topic is quite similar to what I do in a “ghost excavation”.  In a “ghost excavation”, movement and action are critical to generating interactive past cultural presence in all its materializing sensory trace elements.  This movement as a controlled, sequential investigative field action is especially significant, I propose, on haunted Civil War battlefields. In these landscape settings, I control movement and action using the K.O.C.O.A (Key areas, Observation areas, Cover and Concealment areas, Obstacle Areas, and Avenues of Approach) as a baseline frame for “excavation”. K.O.C.O.A. is the military terrain strategy that was used during the Civil War by both Union and Confederate military commanders.  Within the excavation frame, the investigation team follows I.M.P. (Inherent Military Probability) behavior in these K.O.C.O.A. spaces. I.M.P. behavior is what the soldier would have done in particular K.O.C.O.A. spaces and in specific military situations.  The purpose of a “ghost excavation” is to structure practice and interaction (“the unearthing” of I.M.P. behavior) with past presence through a comprehensive ethnography of communication (EOC).  This is quite different than a ghost hunter’s EVP “command and demand” sessions as they move about a haunted location.

In a ghost excavation, I am concerned with attending to both investigative and materializing movements, and the way in which relations (an ethnographic participant observation) define the sets of conditions and situations (cultural scenarios).  I explore the ways that these scenarios (as cultural movements of interaction) continue to facilitate a sense of community, and are still maintained, through resonating cultural practices, even after physical death.  The particular case study of the 15th Alabama as an integrated community, with a particular I.M.P., is investigated.  The “ghost excavator” reveals those elements of the 15th Alabama that continue to execute particular movements and specific actions (as I.M.P. cultural behaviors), despite displacements in time (past/present), place (Alabama/Gettysburg), and being (alive/dead).  The immediate “field reveals” and post-excavation analysis of the “ghost excavation” in the woods where the 15th Alabama fought at Little Round Top shows that manifestations did occur relative to the movements and actions that weave through space.  Furthermore, these manifestations increased as continued actions become more resonating with respect to past actions in specific spaces.  These findings indicate that these haunted battlefield spaces do comprise haunting elements that defy simple characterizations.  The degree, intensity, amount, and duration, I would argue, of these haunting manifestations is dependent upon our contextual and resonating movements (in cultural scenarios) through the K.O.C.O.A. spaces, not the simple use of a tech sweep that merely measures ambient space.

It is ironic (and unethical) that sites that were once locations of toil, suffering, exertion, struggle, and death are now almost always approached as areas of leisure, reflection, and “ghost hunting”!  My “ghost excavations” of the 15th Alabama (and specifically Company G, a “band of brothers”) and their terrible engagement with the 20th Maine at Little Round Top is meant to change that perspective.  A “ghost excavation” moves away from more sedate (“watch and wait”) non-contextual actions and movements (tech scans).  During a “ghost excavation”, I choose instead to explore the participatory acts of I.M.P. movements through the woods of the 15th Alabama engagement.  The “ghost excavation” is a resonating performance through and in the archaeological complex of the “killing fields” (and cover and concealed spaces) of the 15th Alabama in those deadly woods on the eastern slopes of Little Round Top.

The use of an ethnographic display as a peripatetic video (among other mediations) will be installed in the woods at a later date for the benefit of those interactive presences that continue to linger there.  The peripatetic video is a form of located media which exhibits previous performances (our ‘ghost excavation’ acts and movements), experiences, and events that occurred in the woods at Little Round Top, during and after the battle.  This is a layered mediation.  It will show:

  • The “ghost excavation” (video, EOC, personal comments and experiences, etc.);
  • Historical narratives with contemporary perceptions and the contemporary sense of this place;
  • Video playback of the movie, “Gettysburg with scenes from the 15th Alabama/20th Maine, engagement; and,
  • Scenes of the engagement at Little Round Top from Ken Burns documentary, The Civil War.

All of these mediations will be exhibited in the same space, as part of the symmetry of time and space at this haunted site.  In addition, photographs taken during these excavations, and EVP clips recorded there, will also be presented.  The excavation team will record the manifesting results of this ethnographic installation.  This installation, video, photography, performance, and the field report ‘reveals’ is a form of contemporary archaeological investigation (“an archaeology in and of the present”) that is meant to unearth a more complete representation of cultural reality at a site of Civil War combat.  This is the 2nd life of a haunting…

“You can think of life after death as a second life which you enter into as a portrait or inscription, and in which you remain longer than you do in your actual living life.”

  • Susan Hiller, Artist and Anthropologist

Is this “second life” recordable?  If so, what can we expect to manifest?  Can a “script” and an actor, written by a cultural anthropologist, resonate with any lingering ‘ghost soldiers’ on a perceived (and publically-imagined) haunted battlefield?  Can a film that depicts that battle (however inaccurate it is) evoke memories from that battle?  Are photographs and sounds taken in those fields and woods of engagement the reality of 1863?  Is a ‘ghost excavation’ a viable mediation of that past and does it manifest contemporary cultural reality?  Do these aspects of mediating a story for a contemporary ‘dead’ audience have repeatable past performances?  What follows is the beginning of what can be called the ‘haunting archaeologies’ of unearthing the continuing living “remains” of the 15th Alabama as they remain engaged at Little Round Top in Gettysburg.

 

Gettysburg Ghost Excavation — Photos

Little Round Top, Gettysburg, Pennsylvania:  John Sabol discussing camera placement during peripatetic walk with ghost excavators.  (Pictured: Mary Becker and John Sabol)

 

 

 

 

 

 

 

 

 

Camera set-up at Little Round Top.  Notice the red colored clothing to resonate within the time period.  (Pictured:  Craig Rupp, Mary Becker, and John Sabol)


 

John Sabol directing and explaining historical background.  (Pictured:  Rie Sadler, Christine Tringali, …)

 

The Materiality and Significance of a Site’s Haunted Sensugraphy

The concept of materiality is a powerful “tool” to understand the relation between the physical elements of a haunted location, the social practices that took place there, and the uncertainties that continue to manifest. This is a view of a location’s haunted stratigraphy as material cultural remains. This stratigraphy includes:

-individual deposits of uncertainty (trauma, accident, fond memories, death).

-depositional practices which materialize (sounds, smells, visuals, voices, tactile sensations, movements, etc.).

-passages of time between each layer (Revolutionary War, Civil War, Victorian Era) in the course of a localized haunted history.

An analysis of this stratigraphy would include:

-How many haunted layers are there?

-What is manifesting in each layer?

-What and where are the “gaps” in this strata? and

-What internal spaces are haunted, and which are not?

These material remains are the principal evidence for cultural expression, contact, and exchange. Materiality is the means by which ongoing past social relationships manifest (aided by P.O.P. practices), and are constituted (by resonating cultural acts).

A resonating P.O.P. builds specific ways of making haunting phenomenon happen. It is a principal component in identity and relationship issues in ghost research. The key to this identity and relationship remains in an accurate understanding of the materiality of a particular level of a site’s haunted stratigraphy

Participation, Observation, and Performance (P.O.P.) in Ghost Research: Is it “Live” or a “Recording”?

I am an archaeologist. I re-define the past through the material remains of past presence that I unearth through excavation. The past becomes present in this archaeological process. But what happens when that past continues to percolate “live” (and is not a residual material remains) in the present? As an archaeologist, I know that the past is not “dead”. I uncover its remains through excavation and reconstruction. But what happens when that past manifests (and interacts) because of some field practice that I have just performed?

These are questions aimed at an archaeologist who is also a “ghost excavator”. My goal as a “ghost excavator” is to unearth a “live” past presence, one that is framed within an archaeological context (a particular strata of past uncertainty), and when “acting” in the roleplay of an ethnographic (culture-specific) performance.

As a trained anthropologist conducting “ghost excavations”, I participate and perform as a cultural being, enacting practices and behaviors that would resonate with a past intelligent entity. If certain “ghosts” and intelligent haunting scenarios are manifestations of “dead” cultural beings, their behavioral presence at a particular place and time should reflect this cultural behavior. This assertion reflects my belief that an intelligent haunting is not a “paranormal” event or anomaly. It is a “staged” performance. It is “twice-behaved behavior”, Richard Schechner’s oft-quoted characterization of a performance. The “ghost” performs his/her behaved role as “human” twice: first, as a member of his/her culture while “alive”, and second, as a memory practice in a “ghost culture”, the cultural behavioral patterns of that former role (recalled after physical death as habit memories).

If these so-called intelligent entities are not manifesting to resonating anthropologically-oriented participatory/performative practices, then these manifestations are merely physically-unexplained (according to present perceptions of reality) and non-contextual anomalies. They are not the responsive actions of “dead” individuals. The “ghost”, in these instances, was never “alive” in the first place!

The P.O.P. methodology that I use in fieldwork tests these assumptions through a participatory cultural immersion (P), and a directed, targeted individual performance using a fictive memory of a specific situational past event/activity (P). Both investigative roles are observed/recorded “live” by an investigative team (O), located outside the frame of direct immersive action (“the stage” = site of excavation).

The recording of these practices “live” enables a participatory role to immediately become a performance role that targets a specific individual. There is no “watch and wait” in P.O.P., nor is there a prolonged evidence review (the “reveal”), conducted many hours after manifestations were recorded!

P.O.P. adds “live” context, an essential and necessary element for all “ghost excavations”. Context is everything. Context distinguishes between a “dead” presence and a “live” manifesting one! Was that sound, smell, movement, or voice a manifesting “live” behavioral response to a “live” investigative practice, or was it merely a residual recording of a past “presence”. “P.O.P.” makes that distinction a “live”, not recorded, “reveal”!!

“Making Sense” of “Ghost Excavations”

As a “sensible” person (not a “sensitive”), I want to make sense of space, especially haunted space. As an archaeologist, this sensibility MUST come before the “dig”! All excavations are destructive. They alter spatial symmetry, and change past fields of experience. Besides, all spaces have multiple “sensugraphies” of being, emotions, and actions on the surface that must be unearthed before the sub-surface is exposed. Each act of excavation is a performance. The resonating qualities of that performance determines the extent and content of past material remains that are recoverable in any one particular layered space.

Occupying a space as an archaeologist, rather than a resident, involves moral responsibilities. It also demands a sensitivity to multiple cultural issues and different (often conflicting) social behaviors. This sensitivity is space-specific to particular layers of uncertainty, loss, and decay. And it is NOT culturally (or socially) bound to what is technologically-current, politically-correct, nor is it framed by a contemporarily-perceived reality. Certainly, it is not tied to popularity or entertainment TV! Space and place are “timeless” because actual time unfolds. It is NOT linear! Space is unboarded by actual physical constraints because space is symmetrical (multiple presences occurring simultaneously).

This is an archaeology of space and place that becomes a field of resonance within particular layers of the past, each layer with its own set of behaviors and actions. All of this fieldwork is a surface excavation. It is non-evasive. Since there is no physical penetration, there is no potential destruction. The cultural destruction of actual reality comes with non-resonating acts in particular spaces. These acts are contemporary probes which lack “depth” (both cultural/social and moral) because they assume a 21st c. stance toward the unearthing of past presence and interactive behavior.

This “fieldwork” also lacks a sensitive knowledge to what actually occurred in particular spaces because it too frequently involves technological (not human) intervention! It also makes demands through commands without being relative to specific past social situations. This type of “fieldwork” (usually termed a “ghost hunt”) produces NEW layers of (contemporary) presence, without recovering past historical, “dead” ones!

These contemporary “hunts” are not archaeological endeavors, nor are they science. They are also not culturally sensitive (for the most part). They also lack a contextual process because the field acts are NOT reiterative. They cannot be repeated again (with the SAME results) at a different time. They remain “hunts”, not excavations!

A “ghost excavation” is a specific structured process that is context-sensitive. It is sensible. It works with interactive past presence, through a layered cultural uncertainty. Each layer of history and/or cultural occupation requires a different contextual cognitive strategy, participatory acts, and performances that “target” specific situations, activities, emotional expressions, and particular individuals. It is also morally-focused. The fieldwork does not involve demands and commands. It respects ALL human behavior and social expressions. The fieldwork requires a particular kind of investigator, and a specific type of personality. If you can commit to this type of archaeological work, please join us; or support our efforts in the field!

Expositions of Archaeology, Social Sciences, and Multi-Media of the Past, Present, and Future

These papers and proposals are research findings that John Sabol has presented at conferences specified in the link or will present in the near future.  Also included is his appearance as honored guest at Dragon*Con (2011 and 2012) in the capacity of author, actor, archaeologist and ghost excavator.

 

May 6 – 8, 2011 Theoretical Archaeology Group (TAG) Conference, University of California – Berkeley – Archaeology of and in the Contemporary World – Session F.  Memory, performance, and identity in archaeological explorations of space and materiality http://arf.berkeley.edu/TAG2011/

Paper and Lecture:

Ghost Excavations: The Archaeology of the Interactive Past

John Sabol, C.A.S.P.E.R. Research Center, cuicospirit@hotmail.com

Ruins are sites haunted by a palimpsest of past presences, many contained within non-contiguous layers of cultural uncertainty. A ghost excavation is a trans-disciplinary approach combining an archaeological sensibility with performance-based acts. I use contextual (and resonating) cultural scenarios to unearth past interactive memory practices. An example of this field practice is the recovery of traces of inherent military probability of the culture of war on Civil War battlefields. This haunted archaeology, forming part of the current interest in spectral traces, is a rethinking of presence and material remains within symmetrical spaces of unfolding time at those locations considered haunted. I have written 12 books (10 published; two currently at publisher) on performance-based field practices to unearth spectral traces. I call this approach, “Ethnoarchaeoghostology”, an archaeological, ethnographic, and theatrical approach to the unearthing of past memory practices.

 

 

September 2 – 5, 2011 — Dragon*Con, Atlanta, Georgia Dragon*Con is the largest multi-media, popular culture convention focusing on science fiction and fantasy, gaming, comics, literature, art, music, and film in the universe! http://www.dragoncon.org/index.php

John Sabol will be appearing for multi-media purposes – interviewing on radio and television programs as well as newspaper interviews.  He will also be signing autographs at various venues.  Archaeologist, Cultural Anthropologist, and author, John Sabol is known as the “Ghost Excavator”. He is the author of 12 books on the paranormal, and is a professional actor. http://www.dragoncon.org/dc_guest_detail.php?id=2473

Bio:


John Sabol is an archaeologist, anthropologist, actor, and author. He has extensive field experience as an archaeologist and anthropologist, and has worked in Europe, Mexico, and the United States. He has appeared in more than 30 films (including the original Dune, Conan the Destroyer, and the James Bond classic, License to Kill), TV programs, and documentaries. He has written 12 books on interactive haunting archaeologies. These include, Ghost Excavator, Ghost Culture, Gettysburg Unearthed, The Anthracite Coal Region, The Politics of Presence, Bodies of Substance, Fragments of Memory, Phantom Gettysburg, Digging Deep: An Archaeologist Unearths a Haunted Life, The Re-Hauntings of Gettysburg, The Haunted Theatre: Digging Deeper, and Digging-Up Ghosts. He has also investigated Bigfoot, and is cited in the Wikipedia reference to Charles Pierce, the director of The Legend of Boggy Creek. He has also been an consultant on the A&E series, Paranormal State.

 

 

October 20 – 22, 2011 — Things in Culture, Culture in Things, University of Tartu, Estonia (CECT IV Autumn Conference).  The research paper was submitted entitled, “Personhood, Spectral Traces, and Sites of Memory” and a poster presentation of the research was accepted for display at the conference. Contents to be shown on the website after the conference presentation in October. http://blogs.nyu.edu/projects/materialworld/2011/05/call_for_papers_iv_autumn.html

 

 

 

 

November 3 – November 5, 2011 Mid-Atlantic Popular & American Culture Association (MAP/ACA) Conference at the Radisson Warwick Hotel in Philadelphia, Pennsylvania . The MAP/ACA conference hosts researchers from around the country to share compelling scholarship on numerous and diverse aspects of American and popular culture.  Has been accepted in the “War Area”.  The panel is entitled, “The American Civil War”.  Each year, the MAP/ACA conference hosts researchers from around the country to share compelling scholarship on numerous and diverse aspects of American and popular culture; we expect another provocative and interesting meeting this year. http://mapaca.net/confer/conferHome.html

Paper and Lecture:  “Acting Before a Dead Audience: Field Performance as Theatre/Archaeology”(Contents of paper  submitted and to be presented will be shown after the lecture in November 2011.)

 

 

 

 

Mapping The Haunted Surfaced Landscape

Ordinarily, maps of a landscape contain traces of movement.  This may be natural (the physical environment of rivers, lakes, mountains, etc.) and man-made (roads, railroads, etc.).  This noted map movement, though, is horizontal, not vertical.  On a map, the element of time is removed.  The investigation of a haunted landscape is similarly treated by “ghost hunters”.  The site is viewed as a contemporary map of both presence and absence.  This contemporary horizontal map is the basis for a tech sweep, EVP session, and a monitored watch and wait.  Points of horizontal movement and measurement are noted and designated if a deviation is recorded, a site of an anomaly.

A “ghost excavation” offers an alternative ‘mapped’ landscape; it considers the physical environment as a surface palimpsest.  This is a landscape in which the traces of former occupations are not fully effaced but lie buried, in fragments, on the present landscape.  This is more than a mere accretion of layers.  The landscape is “becoming’ a series of interconnecting percolating actions which cut across and impinge from within.  Any given landscape (not only a haunted one) will consist of numerous traces of past activity and behavior from multiple occupations of its space.  This becomes the temporality of the landscape, not its history.  This temporality involves the pattern of human activity that is retention from the past and is able to be unearthed.

The task of an investigator, as “ghost excavator”, is to examine how these different occupations can be recovered, how they interact, and coexist.  We should not view these material (sensory) remains as a series of isolated elements that are buried under the guise of a sequential, linear history.  Presence, even limited occupations of space (such as a “ghost hunt”) disrupts this palimpsest, resulting in displacements to a historical sequence, and produce evolving uncertainties within specific spaces in the already haunted landscape.

A tech sweep by “ghost hunters” of this landscape merely produces an image of horizontal movement across a surface from one point to another.  This results in a two-dimensional space, one that is devoid of temporal depth and excludes the multiple layers of mixed past cultural occupations.

The actions of inhabiting a landscape constitute an embodied activity in which the landscape itself forms through sociocultural interactions.  Activities that take place there define the nature of this landscape.  Ghost “hunting”, as another habitation of the landscape, is involved in a developing haunted matrix.  But ghost hunting (characterized by tech sweeps, monitored watch and wait, and EVP demands) does not extract the past (“what was”) in the present, so much as it builds (“what is”) the present for the future it imposes a contemporary reality onto the presence of the past.

A haunted landscape is a place of “time materializing”.  It is not a place where time stands still in the present to be monitored and measured.  The past percolates on the contemporary surface.  To recover this requires a process that involves participation, engagement, and performance.  The act of “inhabiting” the landscape becomes an engagement with these surface traces of the past.  It involves re-discovering meaning rather than reading meaning into the landscape through tech measurements.  It involves “what was” unearthed by “what is” which becomes, through contextual resonance, “what becomes’.  This is a landscape that is emergent, embodying entities that bind together (in one space) the past, present, and future.  What are needed are distinctive methods that can capture the simultaneous (rather than successive) nature of the past in the landscape.  It is the past (and haunted) quality of the landscape that will emerge from engagements (excavations) in it.  Presence will not usually respond to simply a demand or command!

The heterogeneous constantly shifting, layers of people and practices show how ghost research is a relational process.  It is not purely descriptive, perceived, or measured.  We must learn to acknowledge this mix and it’s contradictions to contemporary version of reality.  A haunted landscape emerges from human actions in particular situations and spaces.  That, being contextual, identifies the investigator as a member of a past community.

Fieldwork at haunted locations has both positive and negative connotations for ghost research:

  • If the action is historical culturally resonating and contextual, then past presence can materialize;
  • If the action involves a contemporary tech sweep, an EVP “demand and command” (“Show us a sign!..Do something!!”), or a monitored “watch and wait’, then the action adds to the current mix of reality.  It does not unearth the past.  It builds the future!

We must see haunted landscapes as “still points” – that is, as situations in which material (sensory) presence, human actions, cultural contexts, and research practices are intimately related.

This view is critical.  We must confront current modes of research and field methodology.  This questioning is critical:  we must envisage landscapes as haunted surface in ghost research paradigmatic shift-toward participation.  I propose that any sense of a haunted landscape must be archaeological, and this sensibility can offer a powerful range of tools that could be used to place the excavation process as a significant participatory act in ghost research.  By approaching reality as a inter environment framed by people, situations, performance acts, and temporality.  That is open, contingent, and emergent, an awareness of the true nature of a haunted landscape (any landscape) can be unearthed and understood!  This is a mode of archaeological research in and of the present.  This is cultural, not technological!