Abstract
For archaeologists of many persuasions, style is a hard-working oracle. Style is asked whether prehistoric post-marital residence rules were patrilocal or matrilocal, whether political institutions were religious or imperial in nature, whether populations were seasonally aggregated or dis persed, and whether production was domestically or industrially organized. Above all, cultural historians continue to use style as an ultimate sensor of space-time relations. Whenever so much is asked of a single oracle (even of the great ancient ones at Delphi and Pachacamac), answers are bound to be elliptic. It is small wonder that the very definition of style remains elusive and continues to exasperate many archaeologists (Sackett, 1977; Wobst, 1977). Style is a perfect black box: its works are omnipresent; its internal workings remain problematic.
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