The Red Crag Shell Portrait: a Comment on the Report of the Committee

1914 ◽  
Vol 1 (4) ◽  
pp. 446-449
Author(s):  
Miller Christy
Keyword(s):  
British Association ◽  
Work Of Art ◽  
Long Period ◽  
Points Of Interest ◽  
History Of

I have read with much interest the Report of the Committee appointed on 12th February, 1913, to examine such evidence as exists bearing upon the question whether the shell from the Red Crag of Walton-on-the-Naze (a single valve of Pectunculus glycimeris which belonged to the late Mr Henry Stopes, and has rude human features engraved upon it) is a genuine work of art of the Crag or pre-Crag period or a modern fabrication; and I desire to offer a few remarks thereon.I may say at the outset that I have been familiar with this very puzzling shell for a long period; for I was present, on the 6th September, 1881, in the Anthropological Section of the British Association, during its Jubilee Meeting at York, when Mr. Stopes exhibited the shell and read an account of its known history. As to the Walton Cliffs and the Red Crag sections appearing therein, I knew them well years before.The Committee has not only examined minutely and discussed fully in its Report the shell itself, the amount of staining it presents, the manner of the cutting of the lines incised upon it, the amount of sand lodged in them, and other points of interest which it presents, but has also enquired exhaustively into the history of the discovery of the shell, so far as this can now be ascertained. It has done all this with an amount of care and thoroughness which deserves high praise.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Early shortening of geminates with compensatory lengthening in Indo-Aryan

1970 ◽  
Vol 33 (1) ◽  
pp. 171-178
Author(s):  
R. L. Turner
Keyword(s):  
Sound Change ◽  
Long Period ◽  
Frequent Use ◽  
History Of ◽  
Compensatory Lengthening

Throughout the history of Indo-Aryan the tendency towards a particular sound-change might continue to be active over a long period of time, being manifested first in words of frequent use or lesser import or where other surrounding phonetic conditions favoured the change and subsequently appearing in particular areas throughout the general vocabulary.

The Mausoleum of Youth: Between Experience and Nihilism in Benjamin's Berlin Childhood

Paragraph ◽  
2009 ◽  
Vol 32 (3) ◽  
pp. 313-330 ◽  
Author(s):  
Michael W. Jennings
Keyword(s):  
Human Experience ◽  
The Moon ◽  
History Of Photography ◽  
Work Of Art ◽  
Modern Media ◽  
Siegfried Kracauer ◽  
History Of ◽  
The Relationship

Key sections of Walter Benjamin's montage-text Berlin Childhood around 1900 figure the relationship between human experience and modern media, with the sections that frame the text, ‘Loggias’ and ‘The Moon’, structured around metaphors of photography. Drawing on the work of Siegfried Kracauer, and especially his seminal essay ‘Photography’, Benjamin develops, in the course of his book, a theory of photography's relationship to experience that runs counter to the better-known theories developed in such essays as ‘Little History of Photography’ and ‘The Work of Art in the Age of its Technological Reproducibility’, theories that are part of the broad currents of technological utopianism and, as such, emphasize photography's transformative potentials. In the Berlin Childhood, Benjamin instead emphasizes photography's role in the mortification and annihilation of meaningful human experience. Photography emerges here as the mausoleum of youth and hope.

The natural history of continuing improvement in an individual after a long period of impaired consciousness: The story of I.J

Brain Injury ◽  
2015 ◽  
Vol 30 (2) ◽  
pp. 230-236 ◽  
Author(s):  
Samira Kashinath Dhamapurkar ◽  
Anita Rose ◽  
Gerhard Florschutz ◽  
Barbara A. Wilson
Keyword(s):  
Natural History ◽  
Impaired Consciousness ◽  
Long Period ◽  
History Of

scholarly journals On the floral mechanism of Welwitschia mirabilis , hooker

1914 ◽  
Vol 87 (596) ◽  
pp. 354-355
Keyword(s):  
Previous History ◽  
Structural Features ◽  
Stages Of Development ◽  
Points Of Interest ◽  
History Of ◽  
Welwitschia Mirabilis ◽  
Floral Form

1. In the preparation of sectional schemes for the flowers of Welwitschia mirabilis , in different stages of development, several points of interest were noted as tending to throw light on the previous history of this unique floral form. 2. Evidence is adduced to show that the primary structural features of the flowers are referable to an anthostrobiloid condition closely comparable with that of Cycadeoidea , now expressed in a phase of minimum reduction, and to be regarded as an example of heterophyletic convergence to a simple floral construction in the gymnospermic condition.

9/11 as Avant-Garde Art?

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1820-1829 ◽  
Author(s):  
Richard Schechner
Keyword(s):  
Performance Art ◽  
Small Extent ◽  
First Century ◽  
Political Systems ◽  
Work Of Art ◽  
Karlheinz Stockhausen ◽  
Social Morality ◽  
Avant Garde ◽  
Single Moment ◽  
History Of

[The attacks of 9/11 were] the greatest work of art imaginable for the whole cosmos. Minds achieving something in an act that we couldn't even dream of in music, people rehearsing like mad for 10 years, preparing fanatically for a concert, and then dying, just imagine what happened there. You have people who are that focused on a performance and then 5,000 [sic] people are dispatched to the afterlife, in a single moment. I couldn't do that. By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world. … It's a crime because those involved didn't consent. They didn't come to the “concert.” That's obvious. And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.—Karlheinz Stockhausen (“Documentation”)Stockhausen aside, how can anyone call the 9/11 attack on the Twin Towers a work of art? Of what value is such a designation? What does calling the destruction of the Twin Towers a work of art assert about (performance) art, the authenticity of “what really happened,” and social morality during and after the first decade of the twenty-first century? To even begin to address these questions, I need to refer to the history of the avant-garde—because it has been avant-garde artists who for more than a century have called for the violent destruction of existing aesthetic, social, and political systems.

scholarly journals The boundary between the domains of the Kosaca and the Brankovic south of the Tara river

Balcanica ◽  
2004 ◽  
pp. 91-158
Author(s):  
Milos Lukovic
Keyword(s):  
Nineteenth Century ◽  
River Valley ◽  
Historical Sources ◽  
Accurate Identification ◽  
Long Period ◽  
Feudal Lord ◽  
History Of ◽  
The Moment ◽  
The Village ◽  
Rule Out

With the partitioning in 1373 of the domain of Nikola Altomanovic, a Serbian feudal lord, the old political core of the Serbian heartland was shattered and the feudal Bosnian state considerably extended to the east. The region was crossed by the Tara river, mostly along the southeast-northwest "Dinaric course". Although the line along which Altomanovic?s domain was partitioned has been discussed on several occasions and over a comparatively long period, analyses show that the identification of its section south of the Tara is still burdened by a number of unanswered questions, which are the topic of this paper. An accurate identification of this historical boundary is of interest not only to historiography, but also to archaeology ethnology, philology (the history of language and dialectology in particular) and other related disciplines. The charters of Alphonse V and Friedrich III concerning the domain of herceg Stefan Vukcic Kosaca, and other historical sources relating to the estates of the Kosaca cannot reliably con?rm that the zupa of Moraca belonged to the Kosaca domain. The castrum Moratsky and the civitate Morachij from the two charters stand for the fortress near the village of Gornje Morakovo in the zupa of Niksic known as Mrakovac in the nineteenth century, and as Jerinin Grad/Jerina?s Castle in recent times. The zupa of Moraca, as well as the neighbouring Zupa of Brskovo in the Tara river valley, belonged to the domain of the Brankovic from the moment the territory of zupan Nikola Altomanovic was partitioned until 1455, when the Turks ?nally conquered the region thereby ending the 60-year period of dual, Serbian-Turkish, rule. Out of the domain of the Brankovic the Turks created two temporary territorial units: Krajiste of Issa-bey Ishakovic and the Vlk district (the latter subsequently became the san?ak of Vucitrn). The zupa of Moraca became part of Issa-bey Ishakovic?s domain, and was registered as such, although the fact is more di?cult to see from the surviving Turkish cadastral record. The zupa of Moraca did not belong to the vilayet of Hersek, originally established by the Turks within their temporary vilayet system after most of the Kosaca domain had been seized. It was only with the establishing of the San?ak of Herzegovina that three nahiyes which formerly constituted the Zupa of Moraca (Donja/Lower Moraca, Gornja/Upper Moraca and Rovci) were detached from Issa-bey?s territory and included into the San?ak of Hercegovina. It was then that they were registered as part of that San?ak and began to be regarded as being part of Herzegovina.

scholarly journals Tempo Digital: Quando a escola invade o smartphone

2020 ◽  
pp. 62-67
Author(s):  
Maria Luísa Luís Duarte
Keyword(s):  
Young People ◽  
Creative Process ◽  
Electronic Devices ◽  
School Context ◽  
Digital Natives ◽  
Work Of Art ◽  
History Of ◽  
Current Context ◽  
History Of Culture ◽  
Object Of Study

This article derives from the master’s research in which it seeks to understand what uses the teenagers of this generation, known as millennials (or digital natives), are giving to their smartphones in a given Portuguese school context. Bearing in mind that our young people (as well as adults) spend a large part of their time “clinging” to small electronic devices, the present investigation looks at this problem as an opportunity to produce artistic content through a didactic use. At the same time, it helps young “producer / consumer” students to recognize themselves in the production of subjectivity inherent in certain work proposals carried out within the scope of the History of Culture and Arts. Starting from the concepts inherent to the disciplines of Artistic Education and the selection and study of a work of art, and having self-representation as the object of study, the student (re) creates (the work selected by himself) through the use of the smartphone, mobilizing skills transversal (technical, aesthetic and methodological) in a process that wants to be creative. In the creative process several aspects are contemplated that can, and should, be deepened, namely the question of time. The time we live in is an unexpected time! Time of seclusion, distance, confinement! We seek to ask whether the current context of confinement can provide an opportunity to reflect on the didactic use of the smartphone to produce artistic content while maintaining the principles of equality and equity.

Looking back

2021 ◽  
Vol 17 (11) ◽  
pp. 556-557
Author(s):  
Jacqui Elsden
Keyword(s):  
British Association ◽  
History Of ◽  
Looking Back

Jacqui Elsden explores the history of the British Association of Dental Nurses

Epilogue

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Sound Recording ◽  
Work Of Art ◽  
History Of Art ◽  
History Of ◽  
Changing Role

The span of this book is roughly that of directors who had started out in silent pictures reaching the end of their careers, including their transitions to color. The introduction of sound recording and color both transformed filmmaking, not least its cost. Misgivings were voiced early on about the moral effect of the new art, even as censorship was deplored. Mannerism as an art-historical concept was being developed to supplement that of Renaissance naturalism even as filmmakers were trying to reconcile the realism to which photography might seem suited with the artificiality it also enabled. Although studying the history of film inevitably dredges up evidence of racism, sexism, and other prejudices, the history of film, like the history of art, is too complex and has long been too deeply engrained in our cultural lives for historians to choose to be ignorant of once admired works we may now in part or thoroughly deplore, as well as minor yet elucidating works that may likewise be problematic, at least in part. The supposition that respect is the default response to any work of art underestimates the changing role of laughter and other forms of active disregard, particularly during the last century.

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