 I'd like to introduce our speaker today, Dr. Lisey Bromich, who actually comes to us from UCLA, because we have other proud UCLA graduates, and who is involved in the really interesting creation of the new residential community on this campus at Bulls Hall, the beautiful castle-like building that you all may have seen. But it's here today to talk to us about his research on the archaeology of Pusco, and also I understand to show some of the new kinds of techniques or the material that he's working with. So if you'll join me in welcoming Dr. Bromich. Thank you very much. It's nice to be standing on this side giving a little lecture. There's a lot of folks here that I recognize, so I have a lot of good feelings for this place. I also thank you for allowing me to present it. At this time I'm off for the Northeast Andean Conference, so it's always nice to be able to present in front of the home audience to see if all the slides work, the graphics are in proper resolution, the jokes are funny and so on. So you guys will be my test as we go through it. So here we get to Pusco. I just wanted to briefly go through another part of my work that I started here at UCLA and have continued to here at UC Berkeley, specifically the Jacobs Lab, the 3D printing lab. And I mention that mostly to see who else is interested in using this in their own work. I went there with Niko, we checked it out to see how this technology can be used. I'll just give you an example of the way that I'm using it, if you want to, about this, absolutely please. And this is the work I've been doing in Tiwanako. And my work there ended, field work ended in 2006, and since then it's been extremely difficult to go back to work itself at Tiwanako. And so I've been in the process of writing things up and publishing and so on. I didn't think I would actually be receiving another intellectual stimulus, but this happened because of my work on the monuments. Some of them are heavily restored, and you can read JP's recent book, 2013, on the architecture and the restoration work that's gone on at Tiwanako. And a section of it which was less restored as of now, but back then it had been untouched. And these were large slabs, large stones from a temple that was completely smashed up. And our descriptions from the Spanish is that the temple was not only amazing, huge, but also unfinished. So we have a situation where we have a temple that not only is destroyed, stones have been taken away, but it was never actually built at any time. Now I've been working on the Pumapunko as it's called for many years, and I sort of avoided this section because it was so complex. And if you type in Pumapunko, you will just go directly to the ancient aliens page. And it just goes down because of the fine work of the stones, in particular the Andesite blocks. These are these H stones, and of course here's holes made in stones only possible with extraterrestrial technology, which has brought people here in droves. And overall I think millions of dollars has been spent there, and I'm not exaggerating when I say millions, people coming down here looking for Atlantis and so on. Now of course JP has been casually working on this, but who pays attention to archaeologists when it comes to television and so on. They do keep calling me, but I just can't be on that show anyway. Here's the blocks, here they are. Now what do we do with something like this? How do we put them together? I did receive funding a while ago to digitize it, scan it, photograph it, photogrammetry, put it on the computer, and then spin it around and put it all together or even try to find automatic ways of doing it. It didn't work. It really made me really angry at the computer. That was the only thing that it accomplished was that. And I thought well, with this new technology coming in with a 3D printing, I go what do archaeologists do well? Well we take little pieces of things and then we make larger things with them. I go can we reduce what we have at the Puma Pumko down to a size that we can actually deal with and something that our minds have been trained, which is visualizing thing in three dimensions. Now all that stuff that we had previously with laser scans, which was terabytes large, photogrammetry even larger, I went back to simply the notes. Leon Sengrand, 1848. Some beautiful drawings here. Stubel, 1893. And the most important collection was from J.P. Protzen, who graciously provided all of his notes from the work that he did. And the advantage of this, it includes each one of the measurements down to millimeter accuracy. With this, this was modeled. So we modeled this. When I mean we, I mean independent study undergraduates, modeled this for a very long time. Kept going one after another. And once you have it, there's one of the gateways. It gets thrown into one of these programs. Off to the 3D printing lab. And the printing process itself is one of the duller things you can do in archaeology. And that's saying a lot. Considering it is, it just sort of drops millimeter by millimeter of dust onto this until you brush it off. And then you put essentially the equivalent of crazy glue on top of it. And once you have it, you have these pieces that just feel great in your hand. And you sit there, and this is the way that I did my research. I would wake up in the morning, have a cup of coffee, sit there, and look at these pieces. And just like that jigsaw puzzle that you couldn't go any further than night before, you sit there and you're like, damn this piece makes this one over here. So that's how it was. And that's how I kept it with the cat in the background knocking things over. And then these easy three dimensional ways that you can make these connections. And then once you have something like that, as opposed to sticking it together, you can actually use the computer to say these pieces actually do fit together. Let's keep that. And then we can start doing these types of reconstruction. Surprisingly so, Tiwanako in this building of this mature state looks exactly like the buildings that Christine had been excavating at Sharipa, showing a continuity all the way through from the early period. Now what else can we do with this? Well, we have plenty of buildings, plenty of things to measure, either large or small, recent trip to Angkor, what a beautiful place, to even smaller items that are too fragile to be used, or simply one example of it exists. So that's briefly my work done with the 3D printing. Now for Cusco, here we go. After, let's see, my work in Bolivia ended in 2006. I started to move over to the other side. Bolivia was difficult, difficult. And JP, you can back me up on this one. Both the quality of life at Tiwanako could be difficult, but the politics were also just terrible. Every year there seemed to be a change in the president, civil strife, civil war, so on, the permit process, and so on. Took the 12-hour bus ride over to the architectural gem of South America, the archaeological capital of South America, Cusco. That's a view of the valley from the monument of Saxe Oman over the city. And there's a plaza, which, after all these years, just doesn't fail to amaze me every time I walk into this location. It is a beautiful city, still fairly indigenous, and there's sections of it that you could almost imagine. You're like, wow, this is what the city looked like. There are Inca remains built into the city of Cusco. So we have the Inca Empire, perhaps 1200 to 1532. We have the Spanish colonial city, the modern city on top of it. So it is a gem of a city with its colonial courtyard, its archaeological remains, but it is a city that's alive. There is traffic. There is lots of people. There is tourism, selling all types of things, but there are also real markets and real folks, and this is where we have to go buy our yama fetus for our ceremony every year. Christine, I imagine you've done the same with the yama fetus. How do you put that in receipts for the university? We call it a Misa. Misa, okay, yeah. Okay, I should have done that. So there's the yama fetus. The city itself is very much alive with parades, protests, and festivals after festivals. It's to the point that the students wonder, why are there so many fireworks? They go, there's fireworks every day. Every neighborhood has one festival or another, and they dress up and they dance. It is a noisy, loud city. When you come back to the States, you realize what a quiet life we leave over here. And it's almost difficult not to go to sleep with the sounds of fireworks and thousands of barking dogs. You can actually get used to it. Cusco is heavily transited now, and the reason is, of course, Machu Picchu. Everyone who goes to Machu Picchu lands in Cusco, stays there for a little bit, off to Machu Picchu, sees that, comes back, and generally they stay about seven days in Peru. That seems to be about the shortest time period. Though I did a lecture on a cruise ship, where they had a day trip to Machu Picchu. Flew them up, helicopter, helicopter back, flew back down. They were back on that buffet line on that cruise ship before anyone could think about it. So there they are, Machu Picchu. This is Sacsea Oman. This is where we started working, and this is the fortress temple overlooking the actual city itself. We'll be continuing to map this area, and this is where I got involved with work after Tijuanaco, because after some very heavy rains, some of these walls, which were considered to be just immovable, collapsed. And the reason they collapsed was because of the preservation efforts by the Institute of Archaeology there. They had simply misunderstood the hydraulics and created an absolute mess. So in collaboration with the engineering department at UVA, we started a project here to understand the hydraulics of Sacsea Oman, both for archaeological reasons, but also to apply it in the modern setting to tell the INC, as we call it, or the Department of Culture, how to go about doing preservation on the monument. So this is the continuing effort. This still hasn't been rebuilt, and we're still in the process. The science is a lot easier than politically changing people's ideas on how things are done. Down into the city itself, here's a Google shot. At the top, it's Sacsea Oman. That's the center of the city. That's a map from Brian Bauer showing essentially the size of the Inca city, with a center area that we're going to be concentrating on. Those are modern city blocks in light, in the small lines, and the thick lines are the Inca walls. And when you do walk around the city, there's a couple of places and a couple of locations where you could almost imagine what it was like to wander around an Inca city. This is just a beautiful little street that's still preserved, with the exception of those steps going up. But in fact, Cusco has been massively transformed in the last 500 years, with the most obvious one being the Spanish invasion. And the city was burned during the Great Inca Revolt and then rebuilt. Here we have the Cori Contra, the Temple of the Sun, and in Spanish and good Spanish fashion put a convent on top of it. The walls of the Great Inca compounds in certain sections, you see them, but in other places as these compounds, which were huge, were distributed among different Spaniards, they punched out holes to create their own stores and so on, which now become modern buildings like Patty's Pub, the world's Irish pub. That doesn't serve Guinness. So, yeah, there we go. There has been a couple of other big events, the 1650, there was a tremendous earthquake, and that allowed the Spanish to redesign the city according to the tastes of the time. And then in 1950, there was another tremendous earthquake, which destroyed everything, about 70% of the buildings. And I got a hold of the proposal. After that, there was a movement going, Cusco is old, we need to modernize it. And I saw all the plans for what they thought they were going to reconstruct Cusco with large apartment blocks, parking structures, malls. Absolutely terrifying how almost we lost this historic gem. That was stopped as they did a few houses and people were like, that's awful. So the preservation was made of the city. So that was something that we almost lost. That statue falling over and breaking though, nobody missed that one. That was supposed to be an Inca of all things. But I believe it was just a statue from, I don't know actually where that came from, but various different statues of Grace the Fountain on top. The other process that's gone on in Cusco, as it's transformed from an Inca pre-Columbian city into a colonial modern city, is the traffic and the transit. Nico can talk to you a lot about this. People walk around the Andes. Yamas have pads, not hooves. And they can go up and down stairs, no problem. The Spanish, of course, they had wheel, they had hooved horses, and these had to be graded and be graded over time. And with the most recent being with the invention and with the arrival of the vehicles, you can see the last of essentially the Inca stairs, or as it were at the time, being sort of this half and half between traffic and stairs going on. So it went from a stepped terrorist city into a graded city. And the result is you have situations like this where you have the door well above the actual street. And I was walking with my friend, and he was walking, we were walking along, and he just got further and further away. And I was like, what are you doing? Oh, it's like, and I realized that he had been walking up the steps as I had been walking along the stairs. That's Easton Rivers, who just did a wonderful research project on the shrines surrounding Cusco. The big change, Machu Picchu, that brought a lot of tourists in here, and that became essentially the primary economic engine of this place. Here's an early view of the festival up at Sacsuamon, back when you could park your car and see the recreation of the Inti Rami, the Festival of the Sun, something that was the last official one was 1535 before the Inca revolt. And it started again in 1944, I believe. And now it's become a major draw, not only in Cusco, but other towns have realized that, oh, Lord, you know, tourists come to do this. We need our own Festival of the Sun. So it's actually multiplied across the continent. And Machu Picchu itself, of course, very crowded right now. There's an effort to see how they can limit the amount of people coming through here. And of course, there's all types of folks coming through to feel the power of the stones and so on. But that's one of our things that we have to deal with when we work in the mystery of South America. Now, Cusco itself, it's been mapped. It's been mapped many times over. One of the first better maps is Ephraim Squire, 1863, Max Zule, with his collection and some of his work here at the Hearst, also at U Penn and the Ibera American Institute. Absolutely very detailed, and what he did was he took Squire's map and traced it, traced his city map on this one and then went about walking around. And from his descriptions, he says, I'm looking at this but the city of Cusco is so disgusting. I just can't continue with some of these survey because of all these small little streets, Cusco was a very dirty city back then. So he spent some time and actually started seeing differences in the stonework and starting up those divisions. It's been mapped many times over, 1950. The more detailed one was done in 1980. In 1980, which was a very, very detailed survey, unfortunately the majority of these notes have been lost. And the result is we have something like this, which is a lot of detail but the internal aspects of the buildings have been completely lost. So when we do scan this and put it in, we have these walls floating unattached to things. It's unfortunate but something very typical of Cusco, which is studies being done and then being lost just about immediately. Afterwards, this is from Brian Bauer, probably one of the better publications on Inca Cusco where he shows more or less the distribution of the Inca walls. Now there's a lot of debate over this wall, that wall, and you can easily become involved in Cusco and the cafes and the bars with the other archaeologists. These long discussions about this wall was here, my grandfather saw that wall, I have a picture in the report and I'll give it to you tomorrow. Tomorrow has never arrived for most of these reports and pictures and so on. Cusco is a place that once you finish your map, you hide it and then you wait. And to the point that mapping Cusco is nearly one of the most sustainable industries there is in Cusco with always some agency or another actually mapping out the place and then eventually these items become lost over time as that archive falls out of favor and that means that a new agency can propose we need to map Cusco. So it's one of the few cases of sustainable archaeology. Within the arguments over this wall, that wall, and so on, well, we have a general idea. Saxioman, which I mentioned, showed to you on top. In the middle we have a central zone which was the location of the majority and nearly all of the houses, and I say houses, the majority of the buildings, temples, palaces and so on, an area C and B which are described as being a lot of terraces. But in addition to this, Cusco was very much attached to its landscape. It had a series of ritual sites, wakas, and they had these sekke lines, these lines originating from the center of the city, walking through the city and people would go and walk to each one of these sacred locations as the sacred narrative history was told. And these things would ostensibly go across the entire empire, even leading up to the top of the volcanoes where the famous child sacrifices were made. And that was a way of tying in the entire empire into the center of the city. So we began our little project here of checking out Cusco and I just wanted to show that's our house. So we were just so happy with that one. I wanted to show also happy students coming over here and probably somebody that's a colleague of ours from up north, from Chico, Frank Bayham, came down, showed them faunal analysis and we went to Yama Herder and said we want to buy a Yama. He's like, great. We wanted slaughtered, yeah, but we just want the bones. And that was probably one of the stranger days for that guy wondering why did gringos not want the meat? They just wanted the bones. Frank and the team, they ex-coordinated, fixed it up. We have a beautiful Yama faunal collection right there. This was a great project for the students starting off because a lot of the archeology here is pretty apparent. That is an archeological feature right there. There's not a lot of problem with identifying that one. Here they are. We sort of started building up the general form of Inka Cusco to the point that even at nighttime we'd go out and we'd take our maps and we did something called the Inka Wall Pub Crawl. And we'd go to several different bars. It still had an Inka Wall built inside of it and we'd make a little note of it, perhaps have a drink, go to the next bar and continue mapping our way. So we were working all the time when we're down there. Once we got a little bit more into the detailed part of it, this is when I started collaborating with Bill Siller from UCL, University College London. And we'd print out and our basic method was to take these maps that we had created, print them out and go out there. Now this has been mapped over a hundred years, but one of the things about it is that errors in the maps get repeated over and over. And that's something very typical when it comes to this type of work. And other things were perhaps, like in this case, this was a wall with a Spanish doorway in the middle. They said that was an Inka Wall. And for a century it's been put in as an Inka Wall. In fact, it's a very early transitional wall and you can see this was an attempt by the Inka Architects to create this classical motif but using their own technology right here. We were able to eliminate those transitional walls. Those were walls made during the colonial period but by Inka Masons that really confused people. We were able to add the new details and we got more and more involved in getting in behind every nook and cranny. Good Lord, do we write letters to different institutions. This is, we finally got permission to go behind the cathedral itself. Another little bit. I've never been up there, that's about as close as I got to there. And eventually, of course, there are restaurants. And as Cusco becomes more and more touristic, a lot of these locations that were previously private houses and you couldn't go in for obvious reasons, now you can actually go in. And we would see a new restaurant and we'd go in and it's like we're looking for a wall and they're like, we have chicken and pasta. And it's like, no, no, no, we're looking for a wall. And they're like, oh yeah, yeah, come in. And sometimes they'd be like, you can't do that. Or they would get, so eventually we decided if we wanted to research a place, we would go and eat there. Because while we're waiting for the food to come out, what difference does it make if we're measuring stones? The waiters would be like, gringos do strange things. This guy's measuring stones. And as we start talking, they're like, oh yeah, yeah, no, no. Check out the kitchen. We got something in the kitchen. Go back there and check that out. Or even more monumental. Oh yeah, bathroom. There we go. Go that one. So archaeology was really getting deep in here as we're measuring some of the more monumental remains in the continent, in the bathrooms of some of these places. Other locations, peeking through doors, climbing up over things. That's about as close as I got there. And also we had some old pictures prior to the modernization of Cusco. And this was covered over. This was the canal of the river being brought through Cusco. And this was covered over completely. And now it's become simply a river of raw sewage. And we could see right there a little bit of the Inca stonework right there. But as this raw sewage is going through there, we figure we'll save that for a thesis project for somebody else who wants to go down there. But beautiful stonework there. But being in Cusco itself, and I had an opportunity to spend five months there, walking out your door, you're doing research. And coming back late one night, I look, I'm like, wait, those stones are in place. Absolutely. The ones on the bottom. The ones on top, no. The ones in the bottom, yes. So I went, took a picture, put that on the map. There's always construction going on, which brings me into looking down at the different remains as the city's changed. And as Cusco becomes more and more popular destination, what had been almost an abandoned convent over in one of these small plazas became a luxury hotel. And as they put in the swimming pool in that area there, they uncovered the base of one of these Inca buildings. This hotel here, I've gone in there a few times and good friends of them. Their presidential suite is $4,000 a night. But yeah, since I'm friends with them, I could get it down to $3,200 in case anyone's visiting Cusco. I'm still staying in my more modest place. So Cusco, it's astounding how much it's changed in the last 15 years. So the result of this effort of getting in historic pictures, previous maps, walking around, and also the discussions in the bars with the archaeologists and looking for some of these reports, well, we put it together. Here's Squire's map, Uli's map, Aguto. Oops, by the way, this one went away. I put it all together, and that's my map right there. Now this is the result. And by the way, getting those maps all to coordinate on top of thing involved a lot of stretching on GSI programs, but then afterwards just simply manually moving around. It was a tremendous amount of work to put that together. Going through this, I confirmed every little bit of wall they're going. Is it transitional? Is it not? Is it real? Is it not? And so on. So when I put it all together, I go, fantastic, I'm done. I have the most recent map for Cusco. My name will be referenced. And then I became quickly dissatisfied because I'm wondering, what exactly did I accomplish? I added about maybe 5% more architecture that we already knew about before coming into this project. And a lot of that is from the recent construction and recent areas that have been opened up. And all those other things have been presented and I still have this idea right here, and I started connecting the line to try to create an Inca Cusco. And as I met with other colleagues, we had enough for everyone to successfully argue their point on what a building looked like or where a wall went. We didn't actually come to any additional conclusions. Now my time in Cusco, I'll be here for a while. So I go, well, what exactly is the step here and what can we do to create an Inca archaeology of Cusco based on archaeology, in fact? We do have a surprising amount of ethnohistorical information for Cusco. And the result is that archaeologically speaking, it's a bit of a dead area. This right here, published in other journals and so on or into textbooks. When you look at the descriptions of Inca Cusco, it's pictures of archaeological remains, maps that decorate texts which are mostly descriptions or discussions of the historical record. This is a case of really archaeology being the handmaiden, not even the handmaiden to history, but almost the window dressing to history. So what can we do? I'll be here for a few years and I thought, well, can I start at least changing the concept of what this is? We call it a city, which is something I have a problem with to begin with, but it also talks about palaces, grid systems and so on. And when you look at the way that Cusco has been presented, this is 1565. Obviously by somebody who did not ever see Cusco, they had a description that there was a fortress, water ran through the streets and it was in a grid pattern. This is a Europeanized view of the flat city with a wall around it, but even more recent views of it still really accentuates the idea of a flat city with grids going across it. And if there are terraces, they're sort of odd. They really don't, not quite worked in there. I think you walk down here and it's pretty much a flat city, easy to get around, no problem. We know that Inca were in the Andes and they used it to dramatic effect, both to create some spectacular sights. They had no problem creating an entire settlements on top of steep mountains, but also for the effect of distributing the water. This area of the Andes receives perhaps two meters of rain a year, all within a few months. And we saw that what happens when the Inca hydraulics went out on Saxoamon, there's collapses. We also have these very large, heavy buildings being built and what we realized was a very marshy area. That's a shot of Cusco, 1950. That's about the size of Inca Cusco, I imagine. There it's this location in red and it sits on basically, you know, fluvial clay. It's an old lake bed and all around it we have diorite, we have other types of stone than that and the result is that there's water flowing into this area all the time. It is in fact a very marshy area and quite frankly an awful place to decide to build a large, heavy city. So a lot of modifications had to be done to actually make this location liveable. Here the remains itself of all of them and one of the things with these maps was that each one of these lines represents a wall on all these maps and that could be a wall with stones that could be tons in size or ones with essentially little round cobbles. So we actually have started dividing them up into different types of categories and one of the first categories is like well, which one's the terraces? These are the terraces. Let's start there, but still we don't have enough. We don't have enough to really reconstruct the terraced form of Cusco but we do have a lot of architecture and as the city was transformed from a terraced city to a graded city it left a little bit difficult. It left Inca remains floating. Oops. No, I don't want updates. There we go. It left in this case half of a doorway floating up on top. Here's another shot of an Inca wall but there's the foundation. This had been dropped down as the street was created. We have Inca buildings floating above the city. We also have Inca remains below the city. This is some of the aspects that we can pick up when it comes to central Cusco but the majority of Cusco was actual just terraces either agricultural or soon to be residential terraces and ironically one of the best ways to reconstruct Inca Cusco is by looking at the colonial form. We do have great documentation on how Cusco was transformed from the Spanish period all the way to the present and when things were built and how they were built. The initial Spanish simply took over the floor, the original surface is right there very easy one to determine right there this is a case of just simply moving in but the majority of the area of Cusco was a terrace and how do you accommodate and this is a graphic in process but the different ways that a building a colonial building would accommodate to a terraced environment and in this case they can be built on top built into, across it they can have it halfway and halfway in there so if you use the existing topography to your advantage either as a back wall as a second level as something to build on to here's the case where the buildings actually built into the platform they emptied it out and put the large door away over here we have an example of a building on top of an Inca terrace one built into it and this is probably the location of the original Inca road that's been graded to go through this is an example of how they would have been built in here but in this case we actually have the terrace over here we have a very early Spanish building and we know that this would have been built about fairly close to the original Inca surface and you can see it but caution here just found an old picture recently realized that all that stuff there on the bottom is modern Inca modern Inca stuff they've been gone to and actually that's the level of the terrace that got cut into so we were able to recreate that and then we continue walking around finding remains in here like okay there's a terrace wall a building was built in front of it and then you have buildings with absolutely no remains but when you have a single building with a door down there and the other one up there that's a really good indicator that a terrace ran right there and the building was built up against it so all of these remains were able to bring it on to the map and each one of those red dots represents a location where we could establish that the surface was originally located and here's a bit of a close up view of it and each one has its elevation either based on the location of an Inca wall or the form of the colonial building and once we had that it sort of became a connect the dots style situation go a terrace running here there there then we'd model it in 3D and then we'd have a terrace that was because we really had it on the topography a terrace that was 15 meters tall we're like oh no we need more terraces and it became this back and forth between the 3D model and the 2D model here's a 2D map and then this is what I suggest would be the location of the terraces and once we put that we can locate the terraces on the actual landscape itself and right there we just have a different idea and a different concept of what the city was like and I look at the city not only built on an incline but taking advantage of the fact that it is in a waterlogged area and by building this there was a continuous source of water going through the rivers but also all the sacred sites located within the city nearly all of them associated with water this would have been a miraculous place where there was a continuous and nonstop supply of water coming from different places now what can we do with this and how can we continue because again we just have this problem when it comes to Inca Cusco that archaeology we don't have an archaeology led by archaeological questions we have archaeologists that end up using a lot of historic text and of course we do have a tremendous amount of it and we can use it but what's preventing us we have that idea we have this structuralism combined with an de-inform of the ceremonial center that's been made as an axis mundi and is a magnum mundi as a representation of the heavens that cannot be changed combine that with the idea that we had for the Inca split inheritance which means every emperor when they took power everything that belonged to the previous emperor continued to belong to that person's mummy and their political party and the new emperor had to conquer new lands and build a new palace as the previous palace became the mortuary house of the previous emperor now to a point that's true but the result is that Cusco itself seems like an idea that was created at one moment by almost a mythical emperor Pachacutec and then that form of this axis mundi was slowly filled in with additional palaces by each emperor how can we go about actually including a little bit more of a diachronic perspective on Cusco itself now the initial initial thoughts initial work that we did into this area so is that now in fact Cusco is under a lot of modification a lot of change and any emperor that comes in, guess what probably acted like any other ruler that comes to a place and they have the option of destroying something modifying it building something new or even just sort of sidelining it and covering it up take an example over here this is one of the famous walls in Cusco this is a 12 sided angle stone you can get yourself a picture a real live Inca and there's always people cluttered out in front of it and these guides and JP you can attest to this the amount of awful stories and silly things that are said in front of this over here and unfortunately JP demonstrated how this stone was made and it's actually rather easy situation how to go about making this stone but guides are up here telling stories and when I take my students through here because we'll hit a big bunch and then there's people fighting to take a picture with the Inca I go okay guys I'm going to give the lecture right here but when I turn my hat that's when I start making things up and you guys continue nodding and taking notes and I just describe the stone it's this and so on and I go this is 12 angle stone it used to have 13 angles do that but the Spanish took one angle back to Madrid to make a triangle and all the students go like they write that down and all the other guides will be standing there and then we'll just continue walking but here's this here's this right here now it's difficult to see but around the corner you have another street full of recent shops and nobody pays attention to these folks because there is no 12 angle stone there but then all of a sudden here we are like this no ones around there they found themselves a puma or a snake a kooie a guinea pig or so on and JP is there anything there they're making things up as they go along here so the this has become sort of a create as you go now even more on the more academic level recent work on it has done is like well this is the Ushnu they've actually reconstructed that bit over there which I believe is transitional colonial architecture and then started creating Cusco Inca Cusco has a city with dual platforms in the middle of one looking at another and so on when you pick up one of these old photographs you realize in fact this wall was completely hidden by an Inca period wall this was a very much an earlier construction when the Inca sort of growed into an imperial phase for some reason they decided to completely cover this up and it's one of the reasons why it's probably been preserved so well that it was covered up this is a case of somebody going something was big here beforehand so we're just going to sort of hide it a little bit at least on this side scholars talk about this as being the Ushnu, the center of the world and so on but there is no reference to it by the Spanish I think they would have mentioned this was the center of Cusco if it actually was the center of Cusco so we do have examples of architectural superimposition down on the temple of the sun on the lower areas we have this type of stonework made with greenstone in a different masonry style which they refer to as a pre-Inca which is also found below ground so we are able to at least talk about a period before imperial Cusco and then just to try to divide things up once we get to the actual stones and what's standing there with my colleague Bill Siller he has taking little measurements with his PXRF and seeing where exactly these are coming from we do know when we're running with the idea that each Inca emperor used his own quarry or at least certain quarries came into use when the area was conquered so it's a very loose way of trying to date these different constructions in the case of Machu Picchu at the bottom a lot of the construction probably came from this quarry right here well what else can we do when it comes to trying to include an aspect of sort of diachronic change when it comes to Cusco good lord it really doesn't like that what does that we'll just go slide show and then we'll start all the way at the beginning I'm sorry hmm okay you have to see the whole thing again and going through that colonial period so on please don't crash so here we go and that's covered what else can we do when it comes to trying to find some sort of diachronic perspective on the development of Cusco well we do have things like this that's a street that was closed up that is colonial clearly the Spanish were modifying things this over here I think is colonial I'm not quite sure about it at all how about this right here which was a very simple wall going across it didn't seem to have anything until construction along there and we realize that in fact that used to be a wall that was completely closed up which means that these walls that we appreciate in Cusco right now which are tall encompassing large areas are in fact a product of several buildings being agglomerated at different times by different emperors as they literally just captured different parts of the cities so this wall appears continuous we don't know since the Inca were so good where these streets where these different buildings could have been in with that we'll be continuing to see how the city itself developed as we're befuddled by things like this I don't even know what to do with it but every time in a city like this where we have the center of the Inca Empire where all the pilgrimage starts along these sacred nodes leading on to the landscape if you modify the urban fabric you modify history and memory and every time that's done it's completely changed now this is something that's been going on when it comes to archaeological research in the provinces people have been looking at the transformation of an area when the Inca arrived so wondering can we see that transformation from town city to imperial capital within the stones of Cusco itself and with that I hope you guys can come and to visit me in Cusco it's a fine lovely place with a lot of good fine-eating establishments thank you you have to leave before the session ends so in Cusco we're thinking about the archaeology there so do they have a program like we have here with all the development that's going on does the city actually have something like that do archaeologists do anything or is it just kind of totally random how has that something like a story have a resource cultural resource management there's a tremendous amount of work being done there by the Department of Culture those names change every election what they call the department but within that the difficulties of the bureaucracies that are there archaeologists do excavate some of them are good some of them not so good there is a tremendous rush to liberate mine so that the tourists can see that once archaeologists finish then it gets handed over to an architect and the architect does not really have any idea of the archaeological excavation process and then makes the ruins new and shiny now what happens to that information well unfortunately because of changes in government budget cuts the moment one of these projects ends and the funding drops and then you find yourself in this long process of meeting with archaeologists going who has that report my friend has that it's like I'll get it to him, the friend shows him I'll sell it to you for $200 I can't buy it and we're going through that slow process right now we've located nearly abandoned in the airport all these reports are there and I'd be delighted to scan to use them to check them out that's going to take a lot of political maneuvering until the department sites reveal this information which they feel is theirs and they should show and they should have almost hidden so yeah, there is work being done but what happens to that work are there questions? yes I would have to go so we have to get them okay thank you again for all your help this morning thank you if you integrated into these cusco maps any of you I've got one compound walled in five different wakas, what does that mean when it comes to their rivals and can they use those same type of virtual pathways so now we're in the process of bringing the safety system into the city itself I'll show you, make sure you see some rivers from Colombia who just finished a fantastic survey of one of the sections of cusco to mark down all of the locations of the wakas in the second place so yes, that's how we're going to evaluate and bring that into the city yes so you've been doing some sort of thing of this term instead of actually in the city have you been able to do an assortment or if they don't assort some of the nearby stone monies to try and correlate the nearby so if the idea is that each emperor has his own quarry then their specific palace and the location should be the same part so we're trying to see that and we do these things for life which is a cusco of the palace location and where that stone is being found that's how we process so you're mapping the valley hydrology for the city we're trying to imagine what the water channels are you combining a lot of the the soil maps I saw you had the stone geology maps to come up with the lake and I'm curious how you're doing that and it looks like you had a 3D model already developed yes, we have a 3D model on top of the geological model we have the movement of hydrology on top very well managed down to the micro water catch of areas so the rest of the city I fear it's going to have to remain rather hypothetical because of the amount of change that's gone on there theoretically it falls in well with the scholars I call them these liquid plazas and that water from Saxo-demand and one temple to Sun we're going this way through the city and into the other temple to Sun one way or another so we can only go so far it's really impressive seeing the way that you're reinstating the terrace nature of the city and I presume that means that you would advocate for not using the fat geometry maps since they're only to always enslave people about that one of the other things that made me think about it are you doing things what you showed because with that kind of terracing the impression people have of the aspect of the city would be like should be really different than what's implied the flat map you say there's a plaza that is a European Spanish concept of the plaza-centric city Cusco itself you can almost describe it as a series of plazas with views that are connected to one another one plaza will have a view of certain astronomical and landscape alignments that have great views of themselves and other people and the one building that's always going to be put to the back of this public palace in this respect when you look at it it's a very privileged position so it's formed the city from plaza-centric grid to a place of multiple viewing stations that are connected to one another