The paper describes a series of experiments recently carried out to test the formation of edge-damage on jlaked stone tools which results from their being used in various tasks. Variables that were systematically tested include action, worked material, angle of the edge, and grip. The main criterion in distinguishing dzfferent patterns of damage was microjlaking rather than abrasion in the form of striations and polish.The results of these experiments may be applied to the identzfication of patterns of damage to the edges of prehistoric stone tools. The information gained from such microwear analysis may be used not only to provide details on the activities and settlement organization of prehistoric societies, but also to provide an important new dimension to lithic analysis in general. In lithic analysis, the main criteria of change have been the macromorphological features of the tools. It is our contention, however, that the additional information on the function of the tools, which is provided by microwear analysis, can contribute to the greater 00derstanding of the processes of change in lithic assemblages and culture change as a whole.The experimental program was designed to test the formation of edge-damage on implements manufactured in European chalkjlint. It was to aid in the identification of wear patterns on lithic assemblages from the neolithic period in Central and Eastern Europe, a project in which the authors were involved. Its relevance, however, includes directly those assemblages of the post-Pleistocene period in temperate and Mediterranean Europe. The results of the experiments may also be useful, it is hoped, for lithic analysis in general, both in the Old and New World.

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Through a discussion of the intentions behind two hypertext works, Ruth Tringham's Chimera Web and Rosemary Joyce's Sister Stories, we present an argument that the new digital media offer unique opportunities for feminist archaeology to realize some of its deepest values. Through the medium of hypermedia and hypertext (multilinear) narratives the complexities of the feminist practice of archaeology (including its multivocal interpretive process) can be grasped, enjoyed, and participated in by a non-archaeological audience more fluidly than in traditional linear texts. We draw attention to the way in which recent developments in digital technology, especially through the Internet, have transformed our ability to share freely the fruits of our creative thought with an everexpanding audience.