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Nyree Finlay<br />

<br />

as the piece is altered via retouch. Thus, the simple action of backing can<br />

be seen as an extension of the self as the microlith is created with some<br />

of the agency of the maker transferred to the piece. To the onlooker, this<br />

<br />

and frequently with some speed, yet it is not entirely visible. Clearly, the vis<br />

<br />

anvil stone is used and the manner the piece is held. It is more often than<br />

not felt rather than witnessed by the maker. Yet if the replication modes are<br />

analogous then it is questionable whether even the orientation of the piece in<br />

the hand could always be discerned by others without close scrutiny. In this<br />

sense, subtle variations serve to challenge and subvert the conventions of<br />

production. The metaphor of concealment whereby the piece is hidden in the<br />

hand continues into the hafted form. The use of mastic and the form of the<br />

<br />

<br />

hafted and the form of the complete tool form might not always conceal the<br />

form of the piece. However, the process is one where there is a clear interplay<br />

between concealment and visibility where what is known and not seen is im<br />

portant. This can be read in a number of ways for it is also a means by which<br />

<br />

are made present or absent. Individual action is revealed and equally hidden<br />

or suppressed at different stages. The wider visibility of the skills and tech<br />

<br />

of backing is one such shift. Another is the relative visibility of the microlith<br />

<br />

piece. In this regard, microlith manufacture can be regarded as embodying<br />

<br />

(1998; 1999) in relation to the anthropology of art. The process of produc<br />

tion is captivating not only in terms of the performance of production but<br />

also in transforming some of the agency of the maker to the piece.<br />

Exploring how some of these metaphors of visibility and concealment<br />

are expressed in microlith production allows us to consider how these stages<br />

<br />

subsequent impact of biography to create other meanings (Finlay 2000c).<br />

<br />

form of engagement with materiality. The challenge lies in developing a body<br />

of replication and modern experiences and engagements that can enable us<br />

to explore and identify such processes. Here our engagements like those<br />

<br />

constellation of knowledge required to complete such as task. In the past,<br />

312

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