Twitter is Full of Filthy Crannog Dwellers

One of the projects I was marking this year featured a virtual reconstruction of a crannog, a dwelling built out into the water on an artificial island. There are a lot of them in the UK and Ireland, and they were used over 5,000 years, apparently. This is not my speciality (hence I am currently on an archaeological excavation in the desert in the Arabian Gulf), so we’re going with what Wikipedia says.

I was lucky enough to visit Must Farm while the excavations were still going on, which featured several of these houses built on stilts. It was an incredibly cool excavation for the preservation, the detailed examination of the vast array of finds, the hard work of the excavators, and the bang-up job that Chris Wakefield did on the social media for the site. From an outsider’s perspective it was a model excavation…though perhaps they could have used more time and money, but that’s generally true for excavations.

Anyway, during my visit all I could really think of was how miserable it would be to live in a damp house built OVER THE WATER in an incredibly damp country. I mean, LOOK at this:

Photo by Dysartian

Absolute horror show. Can you imagine the mold?

So I decided to take a quick poll to see how many Twitter people would live in one of these monstrosities. Apparently, a lot of them. I can understand not wanting to live in a pit house (the name has little to no appeal), but the cave house in Cappadocia was clearly the best option.

Photo of a cave house by Matilda Diamant

If that makes me a troglodyte, so be it.

Photo by Shelmac.

I mean, c’mon!!

Author: colleenmorgan

Dr. Colleen Morgan (ORCID 0000-0001-6907-5535) is the Lecturer in Digital Archaeology and Heritage in the Department of Archaeology at the University of York. She conducts research on digital media and archaeology, with a special focus on embodiment, avatars, genetics and bioarchaeology. She is interested in building archaeological narratives with emerging technology, including photography, video, mobile and locative devices. Through archaeological making she explores past lifeways and our current understanding of heritage, especially regarding issues of authority, authenticity, and identity.

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