Archaeologists are familiar with the concept of assemblage, but in more recent years they have started problematizing it in interesting and innovative ways, beyond its common connotations of aggregation. Sociologists such as Manuel DeLanda and political philosophers such as Jane Bennett have been key influences in this move. These authors had adapted and modified the assemblage thinking of Deleuze and Guattari. In this article, an assemblage of sorts itself, I propose that we need to return to that original Deleuzian body of thinking and explore its richness further. Assemblages, temporary and deliberate heterogeneous arrangements of material and immaterial elements, are about the relationship of in-betweenness. I further suggest that sensoriality and affectivity, memory and multi-temporality are key features of assemblage thinking, and that assemblages also imply certain political effects. The omission of these features in the archaeological treatments of the concept may lead to mechanistic reincarnations of systems thinking, thus depriving the concept of its potential. Finally, I explore these ideas by considering communal eating and feasting events as powerful sensorial assemblages.

This contribution contrasts ‘Assemblage theory’ with more traditional archaeological understandings of the term ‘assemblage’. It is argued that the flat ontology of assemblage theory is productive, particularly in relation to scale, enabling archaeologists to describe their own materials more precisely. However, more traditional ‘assemblages’, perhaps as a result of the more restrictive view they provide, should not be neglected, as they generate particularly archaeological perspectives and effects.

This paper provides a commentary on the other contributions to this special section. It offers an extended reflection on some emergent themes in this collection, themes which resonate with my own perspective on assemblage theory. Two issues in particular are addressed: typology and time.

I'm standing in front of a ‘painting’ by Niki de Saint Phalle called ‘Green Sky’. It happens that I'm standing in front of it in Tokyo where the intense nihon-spectral activity on my eu-retina might indeed make the sky green.