This paper is a summary of the methods and key results of my analysis of 7,997 sherds from 14 sites in Beef Basin, Utah. I discuss physical attributes of the collection, the results of mean ceramic dating, the results of neutron activation analysis, and the results of refiring a sample of nips in an oxidizing atmosphere. I briefly summarize the architecture at each site , as well as possible Fremont cultural material found in and near Beef Basin. I conclude that Beef Basin was likely occupied in the early Pueblo III period and that the occupation was sudden and brief. I determined that paste color can be used as a general indicator of clay procurement locale north of the Abajo Mountains, just as it is in the Comb Ridge vicinity (Glowacki et al. 2015), that there was ceramic production in Beef Basin using local materials, and that the people of Beef Basin had similar connections as, or connections with the east of the Comb Ridge area, as evinced by similar sources for light-paste ceramics found in both areas.

xiii, 248 p. : ill. A print copy of this title is available through the UO Libraries under the call number: KNIGHT E98.P8 D43 1992 / The current interpretation of post-Archaic culture history in the northeastern Great Basin is that the Great Salt Lake regional variant of the Fremont culture arose from an Archaic base and is distinguished by two types of unpainted pottery, Great Salt Lake Gray and Promontory Gray. Seen as ethnically unrelated to the Fremont, the subsequent Shoshoni culture is marked by one type of unpainted pottery, Shoshoni Ware. These types are said to be characterized by distinct combinations of attributes, but close examination reveals that what these combinations are, and how they distinguish each type, has not been clearly described in the archeological literature. In this study, I re-analyze fragments of undecorated pottery previously classified as Great Salt Lake Gray, Promontory Gray, and Shoshoni Ware. Through rigorous and replicable methods, five major attributes found in every sherd are examined: wall thickness, exterior surface color, temper material, temper size, and technique of vessel shaping. This analysis showed that previous identifications of pottery attributes were partially or entirely erroneous. Every attribute measured demonstrated the same essential pattern: Great Salt Lake Gray had a wide range of variation, and Promontory Gray and Shoshoni Ware fell within this range. Further, except for one form of temper material, Promontory Gray and Shoshoni Ware shared the same attributes with one another. Ethnographic evidence is also presented that links late prehistoric pottery to that of the historic Shoshoni, confirming a single unbroken pottery tradition in the Great Salt Lake region. I conclude that the evidence of this study does not support the concept of two unrelated pottery traditions (Fremont and Shoshoni) in the Great Salt Lake region. Based on this work, much of the traditionally conceived post-Archaic culture history of this region must be reevaluated.

The purpose of this thesis is to raise awareness about the contribution historic signs make to the experience of a place. Illuminated signage has played a key role in the development of the American landscape. The relationship between illuminated signage and sense of place is complex. Because of the ephemeral nature of signs and the public perception of them as advertising tools, the preservation community frequently overlooks signs. By examining three case studies, this thesis presents three different approaches to the preservation of illuminated signage. The first case study is the 2002 New Mexico Route 66 Neon Sign Restoration Project. This case uses Route 66 to examine the preservation of original material in original location. The second case study is the 2002 Amendment to the New York City Zoning Regulations, which mandates signage saturation in Times Square. This case examines the preservation of the experience of Times Square by protecting the historical use of innovative signage. The third case study is the 1996 installation of restored illuminated signs by the Neon Museum in Las Vegas at the Fremont Street Experience. This case examines the collections approach to preserving original Las Vegas illuminated signs in an outdoor museum setting as public works of art. While these three case studies evaluate iconic locations, the lessons are broadly applicable. The preservation approaches outlined here illustrate that every situation is unique and requires a full analysis of the context of the sign. Preservationists should evaluate signage within their local communities by examining the artistry and materiality of the signs. However, it is equally important to evaluate the overall community context of the signs. In order to preserve the experience of historic illuminated signage, it is imperative that preservationists and the general public understand that there are numerous approaches to safeguarding these works and that the time to take action is now. / text