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Resumo

Binford's characterization of the isochrestic model of style seriously misrepresents it, particularly with regard to the assemblage variability problem. Here his criticisms are answered, the real argument of the model reviewed, and the reasons for his misrepresentation explored. It may be pertinent to the latter that the model has been presented in conjunction with a strong critique of his own work on style, which remains unanswered. Equally relevant, however, are the facts that its use calls for kinds of expertise Binford himself may not possess and that in any case his own theoretical preconceptions lead him to confound it with more traditional notions of style and consequently to dismiss it on a priori grounds. In fact, isochrestism may point the way toward a new means for addressing assemblage variability that frees style and function from much of the doctrinaire thinking that now encumbers them.

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