Archaeology turns round its objects as much as it turns them out. This is partially an artefact of its reflection, which is not always linear; it is sometimes cyclic. The cyclic is not a perfect circle. Our objects open themselves in new ways to archaeological engagement, but this new relevance surfaces through creative inspiration triangulated off previous orientations. In revolving around our objects, inevitably we return to a familiar place, even though it is where we have never been (González-Ruibal 2014). The linear orientation, by contrast, is progressive. It fashions its every step anew. Thus its movement is supersessive – it pushes forward by violently casting overboard what is considered to be of less value (often on misconstrued grounds) and assuming its position. Whereas the former oscillates with various degrees of awareness, the latter strikes out with inevitable levels of amnesia. To attain a genuinely novel position one must struggle against forgetting former orientations, for to eliminate is to run the risk of repetition – blind to whether or not one ever truly invents – and even redundancy – with multiple copies the impact of our work is diminished. Still, if true improvement constitutes progress, then archaeology, when properly executed, moves in spirals, and our objects move with us.