This article analyses the human technology of affect in excavation work in contemporary Spain. While the government continues to avoid addressing crimes committed during the Civil War and the subsequent dictatorship, many Spaniards have taken it upon themselves to address the past. The setting is in Abánades, a right-wing pueblo destroyed in battle that rebuilt itself through the collecting and selling of battlefield scrap metal. Whereas some archaeologists and heritage managers view the pueblo's obsession with bombs and bullets as strange, I show how the pueblo's deep affection (cariño) for war materials challenges singular narratives of understanding the past. By examining the discovery and care of these materials through sensorial tools -what I call salvage technologies -we can probe the affective mechanics involved in how knowledge of the past is intimately produced and actively challenged in Spain today.In good weather, there are seventy people living in Abánades, Spain. Once the temperature hits the low teens and the sunflowers begin to turn their heads downward and die, most residents leave the Castile-La Mancha Valley to pass the winter in Guadalajara or Madrid. Aside from an omniscient electric chime that has replaced the need to ring the church bells manually, time seems to stand still in Abánades and visitors and residents alike often wonder if the pueblo will still exist in twenty years. 1 Yet, occupying an area of roughly 22 square miles, Abánades also has a luxury-rural franchise hotel, two recently remodelled guesthouses, and, curiously enough, a museum devoted to the 1936-9 Spanish Civil War.The original intention of the museum was meant to be 'ethnographical' rather than historical. However, the war collection grew and came to engulf the ethnographic section of the museum, which had once included artefacts related to agriculture, traditional handicrafts, and peasant life in general. Today, the collection is organized to evoke what could be considered the 'lighter side' of war. A depoliticized version of the conflict is portrayed in which flags and bombs from both the victorious and the defeated lie side by side behind glass cases with only so much as a placard noting what the object is, what year it is from, and who its owner is.Radical culture, however, is made known elsewhere in Abánades -a pueblo where it is not uncommon to comment in the company of strangers that 'things were better