 It is my pleasure to introduce our speaker today, Felicia. And everybody knows that Felicia is in her second year. And I'm very excited that we'll be meeting every Wednesday, basically, and her work and that integrates both Flint Napping in the past and the annual Moscow present. It's going to be pretty exciting. And the title of today's print mapping, Margin, Body, and Mind. Please welcome Felicia. Hi, everyone. So for today, I wanted to start off with kind of a brief story of how I got into Flint Napping. And it really does guide the way that I have actually started this research project. So in general, I started off probably about three, maybe four years now, where my husband bought me a 50-pound bag of rocks. And I just was smashing them together to no avail. And I made piles and piles of this really beautiful, clumpy debotage. And I was very proud of them. But it wasn't Flint Napping, right? So I knew that it wasn't getting the kind of responses from the stone that I had wanted to get initially. So I decided to spread out and go onto YouTube and actually just watch people Flint Napping and try to do it that way. And I made a little bit of progress when I was actually watching somebody do it. And then I decided, well, I still wasn't seeing the type of progress that I had wanted to see. So I figured, let's go to the Flint Napping Bible. And I bought myself the Whitaker book of Flint Napping. And I improved again just a little bit. But what actually really drove me to the point where I could actually Flint Napping confidently was working with partners, right? Being able to go back and forth and have that interaction while Flint Napping. And that has completely just completely revolutionized my ability to Flint Napping. And I think that it's really important to take the social effects of group work into figuring out and Flint Napping. And I think it's important to bring that back into the archaeological record. So this is where this project kind of began. And so I'm going through, you'll see here. This is a core that I had actually, it's an experimental core that I've been working on. And then on the left there is one that we actually have in the archaeological record. So I'm looking at the site of Farana working with Lisa Maher. And you can see this is a Google Earth map. But just very vaguely right there, there's our site. And it's a really arid environment, right? Well, currently it's a very arid environment. But it wasn't always. So during the last glacial maximum, it would have been a lot wetter. And we would have had other step environments outside of the Azarak Basin, which is outlined over there. And you can see which I took from Lisa's work in 2016. But just to kind of let you guys know some of the information that we've got going on about the site. The Azarak Basin itself is about 12,000 square kilometers. And it really kind of pulls in water from the Syrian mountains. And it's also fed by underwater aquifers and stuff as well. And created actually an oasis. Let's see if we can get this one to work. Yeah, so it's got this oasis right here in the middle. And so you can see over here we've got three very large megasites highlighted. So one within the oasis, Karana right here, and then Jalat further south. And they're all really fantastic sites. And I think the main thing that I would want to make sure that you guys are getting away from this is that although our site is really wonderful and it has this amazing preservation, it's this gorgeous mound, it's not the only one. And we need to kind of look at it in the context of all of these other very large megasites that we're dealing with that are also contemporary, right? Moving on for the next one. This one also is taken from Lisa's work in 2016. But we're just looking at different possibilities, right? So we're looking at trade and aggregation and people coming together and leaving. We're looking at possibly seasonal hunter and gatherers who are using this site throughout the year, maybe a couple of times, maybe not. But we do have evidence of reuse. These hut structures that we have are, they're shallow cuts into cultural deposits. And then you actually see a couple of instances where there's biological remains that kind of stack on top of each other in these hut structures. So it looks like some of them are getting reused. But also we have a lot of marine shell that are coming from the Mediterranean Sea. And just different items that we know that there's definitely trade going on within tens, if not hundreds of kilometers from the site. And this is going on around 20,000 years ago, right? So that papalolithic in the Levant spans from 23,000 to 11.6,000 years ago. And then Herana itself, right? We're looking at 19.8 to 18.6,000 years ago. So this is actually a photo of the Azarak wetlands when we went there last summer or in 2016. And so this is what it looks like. This is a preserve, right? So this is what it looked like probably even back into the 80s maybe. But they started siphoning off water to send it over to Amman. And so it's been drained quite significantly. But it's also believed that this is potentially what the oasis would have looked like, right? And now this is what we get. This is our site from the top, very different, but also very wonderful for preservation. So that's the good part of it. This entire thing, everything you see across the top here, those are all worked stone tools, right? So they're either tools or they're debitage. And it's fantastic. You can't go a single step without stepping on something. It's incredible. But so yeah, so what I really want to go forward and just to kind of get you guys situated for this, this is actually from the top here, right? So this is Toronto. It's, you know, the dates are around 19,800 to 18,600. And it's about 21,000 square meters. So it's a pretty large site. And then, yeah, within it we've found recently, you know, we've got a couple of human burials we have. We're working on a couple of different hut structures, but there's also really amazing caches of stone tools. We have marine shell caches. There's a lot of like ochre and just some really amazing like work areas and stuff that I kind of want to explore a little bit more. Come on, there we go. All right, so now to get you guys into my research questions and what I've really been playing with for the last year and a half. Mainly it's how this knowledge is transmitted, right? So I really want to know the cultural aspect to this knowledge, right? So we're not just talking about how to flint nap, but we're including the landscape as well, right? So I'm interested in seeing how these people are going out and collecting this, you know, these flint. How do they know like where they're at? And, you know, kind of trying to figure out the different, you know, cultural aspects of it because we're coming kind of from an older idea where, you know, we have these very distinct groups and, you know, this particular group creates this particular tool type. And I kind of want to see if we can break away from that and see if maybe education is a better way for us to look at these cultural borders as opposed to the final tool type, right? And the only way for us to get to the education is really looking and refitting some of these cores. So all of these flakes that you guys see along the edges here, they're all flakes that I've been dealing with in the particular sets of artifacts that I've been working with. And again, this is a really nice core from one of the huts that I've been working on. But yes, just so you guys get the questions. So how does the flint-napping knowledge get transmitted? And I really want to look at this in kind of a, in a temporal sense, right? So, you know, from the early to the middle periods since we have two periods at Farana, I want to see how that kind of changes from the early to the middle, right? Can education be used as a proxy for culture in that epipaleolithic? I think this is probably one of my favorite questions to try to tackle, right? Is trying to understand where, you know, where the flint-napping knowledge is either coming from or how it's being transmitted and how, like, along which lines, you know, are they going along kin lines or how we can track that information back if we have enough of those sequences. And then number three, how is flint-napping socially situated within the epipaleolithic life? And I feel that that's a really important thing for us to actually try to get to because we can actually, hopefully, there's been work that, there has been work that traces back and is able to determine skill level and everything. I haven't gotten to that point yet where I can do skill level, but that's definitely something that I'll be working on in the next couple of years. But yeah, with an understanding of skill level, we'll be able to figure out the actual positioning of people while they were flint-napping. And we'll go into all of these a little bit further. So this is the map of the two areas and the sites. So we've got area A, which is from the middle epipaleolithic, right? And then area B, which is the early epipaleolithic. The middle epipaleolithic is mostly, we're looking at, like, geometric microliths and broad-faced cores. While the early epipaleolithic, we're looking at gray-style non-geometric microliths and more narrow-faced cores. So I'm gonna be focusing on area B since both of the huts that I've been working with are in area B. And I've highlighted these down here. So these five areas are where all of my material has come from so far. I do plan on expanding that out, but at this moment, I have 43 cores and tens of thousands of pieces of debitage to get through. So it's gonna take some time. So these are the hut structures, right? So we've got hut structure one, hut structure two, and we excavated this in 2016. And so there's actually some caches. There's two caches in between these two hut structures. And so you can see that they're very shallow depressions in previous cultural deposits. They're covered in a thin layer of clay. And then they have this really dense, burnt superstructure that comes down over top of it. So it's really easy to identify this really dark black as opposed to this kind of orangey, yellowish, sandy silt that we've got out here. But all of the material, all of the cores that I will be talking about for the rest of today are really coming from the areas around these hut structures, not necessarily the ones inside of them. So I just wanted to show you this because this is amazing. I geeked out about this for a while. I can't wait to get my hands on this cache. It's amazing. So this is one of the caches that they found between the two hut structures and some institute-fired rock. And then just to show you guys a little bit about the tool types that we're looking at, we've got the non-geometric microlits, which are very thin and gray-style, but they have a lot of retouch across the back. We've got non-geometric microlits that are a lot more chunky and they tend to be that trapeze shape. And then these are the blade-lit cores that we're dealing with mostly. This is a narrow-faced blade-lit core, and it's the most common one that I have in the material that I've been working with. All right. So my approach in general, right, it's pretty much three steps that all kind of come back down to experimental flint-napping, right? So step number one is refitting, right? We need to figure out how these sequences were actually done, right? How everybody was flint-napping and what patterns they were using, what type of problem-solving were they actually employing in order to create these really wonderful, these wonderful cores and tools. This one was actually refit by Nigel Gorin-Morris from his site in Chuna, 16. And it's fantastic. And I really hope that I'll be able to get to that point. But again, then we need to go back to experimental work, right? So in order to understand how these are coming together or coming apart and going back together, there's also a component of me being able to do that so that way I can actually go forward and kind of understand the purpose behind these removals. I think it makes it a little bit more meaningful, at least to me, is being a flint-napper to be able to understand what type of struggles they were going through and maybe why they were doing these errors or how to fix their errors. So that's the step that I've been on right now is just trying to reproduce these cores using similar approaches that we see in archeological record. Once we finish all of the refitting, I'm really interested in them moving on to the Chana Petroir, right? So not necessarily just of the tool itself, but also everything that surrounds it, right? So at what point in time are people going out and collecting these materials? The vast majority of the materials are coming from within 15 kilometers of the site or 20. And so we know that it's probably something that they have very easy access to, but I really wanna know about the knowledge, right? The landscape knowledge and how that kind of fits into their daily life and how basically the changes in that knowledge is seen through the landscape and seen through which sources they're deciding to pick. So for these works, so sorry I went back, refitting, so Takakura and Nicole Piaget, she did, they did some really, really wonderful refitting work that I've been following pretty closely in order to kind of model and figure out the problems that they ran up against. So that way I can kind of negate some of those problems in my own research. For the Chana Petroir, I've been pretty heavily leading, leaning on Bleed, Chazen and Rockman. Rockman did some really, really fantastic work with landscape and apprenticeship of landscape. And so the entire, you know, I guess the entire project that I'm getting to is really the apprenticeship and the learning of the situation. So not necessarily just the teaching and just the flint napping, but it's the learning and the entire system, the entire social system that's built around learning how to flint nap. And again, this is something that, you know, needs a lot of experimental work. I would like to do some more raw material surveys. There had been done. I think back in like 2010 or something by Dayledge. And they were fantastic. And so I kind of want to go out and take a couple of looks and see, you know, find some of the spots that he found and maybe go get some other ones and try to flint nap that material. But also in this step, I've been leaning on a lot of ethnography as well. So I've been working on some work with Junco with the Australian Aborigines and trying to situate how this learning and the collection of materials fits into daily life in other hunter-gatherer societies. And then for the situated learning and communities of practice, right, it really comes down to understanding skill level. And so this is going to come through with a lot of experimentation. And I'm not going to go necessarily really deeply into the experiments that I have lined up for today, but if you want to talk about it with me, I'm more than happy to. But I have a couple of experiments set up and, you know, that are going to be in the way in order to determine the actual skill levels of different flint nappers and see what type of errors that they actually create when they're trying to create some of these narrow-faced cores, right? And so that way we can kind of determine, you know, low skill makes this, middle skill makes that, you know, masters make this and this is how they correct their errors, right? And so once we can be able to determine the skill level from there, then we can actually go back to refitting, right? So the reason why, you know, this is a circle is because once we're able to determine the skill level, then potentially we might be able to figure out when we have two or three flint nappers working on the same core, right? So if we have some mistakes that are really terrible, some really atrocious mistakes that are on these cores, you know, if a master comes through, which ethnographically, we know this happens very often that a master comes through and's like, oh, all right, here you go, fixed up, keep going, right? So in order to kind of mix all of these ideas together, I think it'll make a more holistic understanding of how this knowledge is really transmitted, but also we'll be able to kind of look at spatially how people are situating themselves, whether we have one master who's surrounded by one or two apprentices or in the French Magdalene where they have some really wonderful examples of like one master and then two people who are slightly skilled and then like children who are just bashing rocks around the outside, right? And so it's really fantastic that they're able to be able to separate that space and that's something that I would like to do at HANA. All right, so experimental work is a huge part of what I've been doing. I'm sure a lot of you guys probably know that I flint nap on Fridays, but you're more than welcome to come out if you haven't. We really, really enjoy it. When I was in Jordan over the summer, I got the, which fellowship was it? Sorry. Yeah, the Kenneth Russell Memorial Fellowship through the American Center of Oriental Research. And with some help from Lisa, I was able to go and spend about a week and a half, maybe two weeks in Jordan and we got to do a lot of lab work. That was the vast majority of our days was, I went with two of our other Jordanian archaeologists who help us there and they were fantastic in helping me do some of this initial sorting, but we also went out and collected raw material so that way I could do experiments at home. It was pretty exciting to try to explain to the people at customs that I had two types of rocks, one were archeological and the other one it wasn't and it was a mess for a little while, but we made it through and I got all of my rocks. But so you can see they actually, this is at Acor and they set me up with this really gorgeous flint napping area that has like these like grape arbor vines and stuff over top of it, like rosemary bushes everywhere, I didn't want to leave, there's so much flint, I could still be flint napping, but I've been doing a lot of experimentation with by-faces but also just been trying to get into these narrow-faced cores because that's honestly where my research can, well, that's where my practice needs to be and so it's been a struggle but I'm getting there so we'll figure that out. To kind of move on into the actual lab work part of it, right, when it comes to the lab work we've got two major steps. So the first one is sorting by color and texture which Charlene is very familiar with at this point. I've had two U-wraps helping me out and they've been fantastic, they haven't mutin' me yet so that's wonderful, but we've got basically setting up each of, so over the summer we had separated things out into their basic typologies. From there then we went through and used them on cell color chart in order to determine the colors. We kept a very specific codes for the different types of patterning and then also very specific, I guess, levels and categories for the textures, right? So we're looking at like sandy, fine, mediocre, glassy so that way we can try to get pieces that maybe belong to the same core in the same general area. And so then once that's done, which took us eight months and it's almost done, then we move on to matching by color and texture and so then this is actually going across the different bags so these were within the bags and then this is across the bags. So we have this China doll system going on or sorry, Russian doll system going on where we've got these different colors, right? So these are little bags of different colors and different styles and then once we have everything from that one particular area, they go into a bigger bag and then those bags go into another bigger bag and then so this bag actually has a photo of the core and the color, the main colors on the core as well as the patterning on it so that way we can kind of try to figure out how well these pieces are fitting together and their potential matches. They actually then get double checked at the end and we're kind of in the process of doing that right now is doing the double checking to make sure that the colors are pretty consistent throughout. It takes a long time. It takes a long time to do. We've got, so this is what that process looks like so we've got Jose over here working where we take up about half of the lab and lay it out. AJ lovingly calls it a fish market of lithics because it's pretty much what it looks like. You walk into the lab and it's just bags and bags and bags of rocks but it's been the most effective way that we can figure out how to actually get these materials that look very similar together with being able to keep the context information with them. So you can see this is my favorite refit for right now and it's these three beautiful blades so you've got one, two, three and it was brought to my attention that it looks very much like prosciutto and I can never unsee that. So yeah, so this is number one but you can see here, right? So we have these two flakes and this blade that very clearly belong to that same core. So they're coming from very different places. They're coming from different places around the areas that I'm pulling but it's very clear that they actually belong together so we're capable, we're able to do this. Some of the cores are a little bit trickier because we do have a lot of sand toned cores that maybe have a couple of white speckles in it. Those are tricky and those are very, very big bags but we'll get through it, we'll figure it out. But right now we have 43 of them that we're working on and potentially a couple more coming out of our last bag that we haven't gotten through yet. But so this is how we're kind of keeping everything together and trying to get into the actual refitting itself. So the next step of this, what I would really like to add is doing some 3D photogrammetry. So I just finished up the photogrammetry workshop in Santa Cruz which was fantastic. And so this is actually a digital elevation, a digital elevation model that we had done. And I think with a little bit more resolution it'll be really wonderful for figuring out errors and understanding the different removal processes but I wanted to kind of end, not on that, hold on. So I wanted to talk to you guys a little bit about the 3D models and what they can actually do to improve my research and how I would like to employ them, right? So you can see, this is pretty awesome, I'm super psyched about it. But it's really, really wonderful, high quality images. And so what we can see here is, stop. We can actually go through and look and see each removal. Like I totally bashed this platform. So we can actually see these errors and be able to maneuver it and look at them. But the step that I wanna take from here is actually using 3D photogrammetry as part of the refitting process. So what I would want to do is sit and glue this flake on, take a set of photos, glue this flake on, take a set of photos. So that way we can actually have the entire sequence recorded. And so that way we can see everything internally and externally. But then we can from here take out the colors. We can kind of do some other manipulation that will allow for an easier comparison as opposed to just looking at the cores one by one once they've been glued together or looking at the notes of how I understood them fitting back together. We can actually go through and one by one and put them back on and compare the different sequences to understand how these different things are interacting with each other. And so I think this can be an extremely powerful tool for understanding the differences between time and space and the differences between educational approaches. So if we have a number of people who are coming to the site from different cultural backgrounds where they're learning and being taught how to flint nap in particular ways, I believe that we'll be able to pick it up in these cores and just through the approaches that they're using through the tools that they're using and even just different problem-solving strategies. I think that'll be able to let us identify at least which group that they learned to flint nap in and then we can kind of understand the different cultural relationships from there. So I think I ended a little bit early. Sorry. But are you guys any questions? I know this is preliminary, we're gonna do it right now. Have you started to see different styles or different techniques? So in the cores themselves, yes. There are definitely some cores that have some removals that are bizarre compared to the other ones. And so I'm very excited and I have my eyes pretty well honed out for those at this point to kind of see how they differ from the other ones. But I haven't had any refits for those cores yet either. So it's strictly judging by the removals on the core faces. You're beautiful blade. Do you think you see evidence of the flint nappers were trying to do something not just utilitarian but beautiful? I think so. I think maybe not in all of the pieces, right? But I do think that there is an aspect of physical beauty that comes into some of these pieces. I know I've seen a couple of pieces of flint that were like purple with like orangeish polka dots and it stopped me from working for solid five minutes just because it was so beautiful. So I do think that it does play a little bit into it. Yeah. Well, we know that most of them are local. So I believe it's 15 kilometers or is it 20? Yeah. I haven't been able to yet but I honestly haven't tried that yet either. So they're just not using the color and the variations to the oysters as a proxy for source because in any one flip of a crop, as we all know, they're so huge that you're all wet. Although they're on a chemical test, right? Yeah, but those are pretty, especially when you have very similar geochemistry between outcrops which we have in general. So tell them not to these other conditions. But so she's using the color with the idea or the assumption that within one core, within a chunk of rock this size, you're gonna have a minimal amount of variation in color and texture that it also gives useful measure to try and get your next door matches. So of course that changes a little bit as you realize that one part of what you pre-fitted is now a little bit different and then you go look at those raw materials. So we have some amazing pieces. Like so the lateral cork trimming pieces are some of the pieces that just go completely across which capture the vast majority of the variety. So we have some pieces that have four or five different colors within one nodule that's about this thick and like different textures and you know, different patterning that go in between that. So those pieces are extremely helpful and they get like flagged because then that way we know what's inside of them. And then we can kind of go back through and figure out like, okay, so I know like, you know, this particular color and texture belongs to this even though that these two don't look similar and we can still kind of get them into the right bag according to the core. Yeah, Jingle. So in terms of within pieces, how far are they from each other? Like do you have some of them that are far away from the original location? Well, so far I've only been pulling from three different squares and the furthest ones that I have are about three meters from each other. So it's not a very large space at the moment. I do want to kind of expand out a little bit more but yeah, at this point, I'd say the farthest is about three meters. Any other questions? I know it's really days but from what you see in the fragments that you're looking at, do you have a sense of the range and variability of technologies that we have? I'm not a lithic person, but there's like these sort of classic names out there that don't look a lot like that. Can you know that much better? Do you get a sense that all in all, the thousands of pieces you looked at, they're all sort of the same style or you're seeing, oh my goodness, even though I'm in the same layer, they're really diverse and what's your sort of feeling on that? Well, it was really fascinating. Josh and I have actually been working in the lab on two different areas. So I've been working mostly on area B and he's been working a lot on area A. And so between those two areas from the early to the middle, we have very, very different approaches to the actual maintenance and the types of flakes that they're removing. So within my particular set of artifacts, there are some variabilities, nothing that sticks out to me necessarily right now as, oh, this might be a completely new thing. But there are definitely some very different approaches than some other ones, but nothing as drastic as the ones that you'd see from the early to the middle. These are spatially too constant personalities. Not spatially yet, not yet. Between A and B? Oh, between A and B? Yes, sorry, between A and B. Yes, that's spatial. Okay, but it's also temporal. Yeah. Go ahead. We're single-centered about it. Right now, people just assume that those differences are cultural. So that it's this group who does it this way, that it's the Kavara shirt of the Vecchia. And so when you find a Vecchian site in an area that's not supposed to have any, it's supposed to be all Kavara. And people are like, oh, wow, this is crazy. It doesn't make sense what's going on. And these refitting studies, like the one that she shows, so keep that in mind, and the refitting studies that she showed, the core that had been nicely refitted from the southern mega, the Gory Morris one, yeah. So what he's actually done with all this refitting work, very different scenario. One site is like three or 400 pieces that all fit together. So it's one, yeah, very discrete, yes. So this refitting is much, much easier and still very time consuming. But what he can actually show in this very controlled refitting setting is that even within one site, within one, you know, Nebecchian group, there's clearly multiple trajectories for making the same micro-technological gas. And so things that we couldn't identify by just looking at these assemblages without refitting. And so we suspect that it's probably the same at all these sites where we just haven't tried refitting. And so we think that's also gonna be the case a lot of, but until we actually do it, we can't prove it. So we think that this idea of arm in Nebecchian is just gonna go, maybe just people doing things slightly different things. Well, you know, it reminds me if I'm like that. Yeah, yeah. Because I'm teaching Anthro2AC, I've been reading outside of my box and so I read all this stuff on issues, reread, you know, I don't know how to think about it. And they talk about taking him out in the countryside where he used to flint nap and you probably know all about this, Ken. And I don't know if people have been to see it, but he talks about sitting around in a circle that he never kind of napped alone when he was napped as a group. So I don't know if when they went out to Harrington and over-located where those are. But, and you know, and the whole thing is shackling, having him napped in a different cultural group and all that stuff. I mean, to me this sounds like you're right, you're doing that same kind of thing. Yeah, so that's actually where my experimental work is kind of playing with, is trying to like get, once I get up to the point where I can reproduce these very confidently, then like go through and actually teach students how to do it, right? And be able to kind of like have ourselves situated in certain ways, right? So I'd have different groups of students who would be taught in different kinds of ways, right? Using like different traditional like learning methods. And then that way we would be able to compare like how they learn either from each other, like from me how this learning actually occurs in these groups. But then we can also then keep track of their errors and then how they start to correct their errors and just the different ways. And I would hopefully like to get them to actually journal their thoughts. So that way, like as they're going home and hopefully thinking like, ah, you know, this core, it's just not doing what I wanted it to do. You know, I would hope to get that. But if I don't, it's fine. But I really wanna kind of get into the mind of the Flint Nappers and the people who are learning and then, you know, see how that's affected in the group, right? But also when it comes down to doing like understanding the differences between novices and ad-empts and, you know, masters, that's another thing that I've been working on and collecting a couple of masters. You know, I've got plenty of novices around. So we'll all just kind of like get together and try to figure out, you know, how to reduce these cores to make the types of tools that we want and collecting the debatage and seeing the different skill levels. So it's exactly, exactly. Yeah. It's also a big challenge as in light of these pre-fitting studies and this is for our mental work. What we're figuring out is that a lot of things that we've actually given designations to as tools or as particular types of debatage are actually mistakes and they're just, you find them again in the case. Yeah, because people make those kinds of things that you have to get in the case to kind of like level up. Yeah, yeah, because there are very common things that you see, like a novice almost always makes these like, you know, battering like they're, yeah, yeah, and they just don't know the angles correctly, right? So they just hit it and hit it and hit it and it doesn't come off and they just keep going and going. You're gonna need to cut away from mistakes. Yeah. Well, so that's the point is to then like set up like a typology basically, not necessarily a typology but you know, kind of like a fluid set of categories where we could then, you know, line up. These are errors that most commonly occur in novices and these errors most commonly occur in like, you know, people who are in the middle range and these could occur in masters. And then that way we can then kind of spatially situate what was going on. Sourcing. Yeah. Yeah. It's your approach applicable to other assemblages that are already refitted. Because I know that refitting is a huge amount of work. Yeah. Japanese parolipic art is so really into it. I know that there are a lot of refitted examples but it seems like they're stopping at that point. Later presentations when they started there. It sounds really exciting. Yeah. And potentially there's possible collaborations Yeah, I would, I would imagine that it would be, you know, as long as all like the context information. Yeah, exactly. Yeah, it's done. Because of making excavation reports of parolipic sites, that's the most time consuming part. Yeah. So excavation reports are out, the materials are there. Yeah. I haven't seen much of the interpretation process and there's a lot of criticism why I spend a lot of time for something that are not really. Yeah. Yeah. I think that would be, yeah, fantastic because really all you would have to do is, you know, if hopefully they've got like, you know, water soluble glue. Yeah. So that way you can kind of like undo it and then redo it so that way we can see what those sequences are. But yeah, I think that would definitely be applicable. Yeah, actually. I think they're spending massive amounts of time figuring out which one fits to where. Just memorize everything. Oh, wow. That's so hard. So you can see how much time was spent. Yeah. Yeah, a lot of time. Yeah. It's just a curiosity, maybe some of the ethnographic ones. So ethnographically it varies a lot. But there's, I'm kind of from what I'm seeing, they kind of start younger yet. We got a video of like a three-year-old running around with a flint knife, or obsidian knife, a metal. But like I'm kind of seeing like in some of the work that Milne and Rockman are doing, they definitely have people who are younger around like five or six who are just kind of like bashing stones together, not really like accomplishing anything, but like trying to mimic stuff. But then you kind of see that like their cognitive abilities just simply aren't there yet. And then they actually get better as they get a little bit older. That was another experiment I really wanted to do. But it's apparently very difficult to find parents who will let me teach their four-year-olds to flint knaps. So, you know, I reasonably so. But yeah, I think that's kind of something. But yeah, there is some evidence of people starting as children. And I honestly, I'm going into it thinking that there's definitely some level of interaction, whether it's just, you know, watching in Australia on Aborigines, they're not allowed to actually flint knap until they're initiated as adults. However, they are sitting and watching their, you know, father's flint knap, right? So there is still, yeah, yeah, yeah. I only say father's because the ethnography strictly speaks about men. They don't mention women. No, no, no, I agree. I agree. I'm a very strong. I believe that women were definitely flint napping. Brandon Weidman? OK. Yeah, I'll check that out because I've, it's been driving me nuts because everybody I've looked at it's only men, men, men. It's, yeah, yeah.